Here’s a letter from Dick Higgins about rent from 13 February 1965:
And here’s what appears to be Marcel Duchamp’s first appearance in the Times, an unsigned note in the “Topics of the Times” section from Sunday, 1 March 1913:
An unsigned notice on the publication of Duchamp’s Green Box with a lovely turn of phrase: “there is something nostalgic and lavender about it, too”. From 30 June 1935; also seems to be unsized. Click the thumbnail for the full-sized scan.
Marcel Duchamp retirant, à la requête des cubistes, son Nu descendant un Escalier du Salon des Indépendants.
Marcel Duchamp, Gabrielle et Francis Picabia, Guillaume Apollinaire assistant au théâtre Antoine à une représentation d’Impressions d’Afrique de Raymond Roussel.
(both images from La vie illustrée de Marcel Duchamp, avec 12 dessins d’André Raffray, written by Jennifer Gough-Cooper & Jacques Caumont, published by the Centre National d’Art et de Culture Georges Pompidou in 1977.)
(Previously.)
First:
Also:
Although:
(Ray Johnson, Image Bank Cultural Ecology Project, 1973)
(specifically Impressions of Africa:)
“The third performer at the gala of Incomparables, Bob Boucharessas, four years old, bears on his forehead the star of imitation: ‘With an astonishing mastery and a miraculously precocious talent, the charming tot began a routine of imitations executed with eloquent gestures: the various sounds of a train starting up, all the calls of barnyard animals, the grating of a saw on ashlar stone, the sudden popping of the cork of a bottle of champagne, the glug-glug of liquid being poured, the fanfare of a hunting horn, a violin solo, the plaintive melody of a cello – these formed a dazzling repertory able to create for anyone who would momentarily close his eyes the total illusion of reality.’ “
(Michel Foucault, Death and the Labyrinth: the world of Raymond Roussel, trans. Charles Ruas, p. 49)
“Find the papers about colors considered in the sense of coloring light sources and not differentiations within a uniform light (sunlight, artificial light, etc.)
Come back to:
Supposing several colors – light-sources – (of that order) expose at the same time, the optical relationship of these different coloring sources is no longer of the same order as a comparison of a red spot with a blue spot in sunlight. There is a certain inopticity, a certain cold consideration, these colorings affecting only imaginary eyes in this exposure. (The colors about which one speaks. A little like the passage of a present participle to a past one.”
“I mean the difference between speaking about red and looking at red. [M.D., 1965.]”
(Duchamp, note in Á l’Infinitif (The White Box) (published 1967), trans. Cleve Gray.)
Marcel Duchamp’s cover for André Breton’s Young Cherry Trees Secured Against Hares (1946):
The cover of the first American edition of Michel Butor’s Mobile (1963), designed by Janet Halverson:
(I would have a better image of that, but there doesn’t seem to be one on the Internet and thieves stole the scanner cable, so the phone & Photoshop will have to do. Alas.)
One would imagine that someone would have similarly made a splendid cover for Kafka’s Amerika of the Statue of Liberty holding a sword aloft, but the closest one I can find is the New Directions cover by Gilda Kuhlman:
But the best cover for Amerika that I could find is the poster for this French theatrical version of the novel, which captures more of the novel’s spirit:
I’ve never worked for a living. I consider working for a living slightly imbecilic from an economic point of view. I hope that some day we’ll be able to live without being obliged to work.
(Marcel Duchamp, interview with Pierre Cabanne, 1966)
In answer to your question – Fluxus way of life is 9 a.m. to 5 p.m. doing socially constructive and useful work – earning your own living, 5 p.m. to 10 p.m. spending time on propagandizing your way of life among other idle artists & art collectors and fighting them, 12 p.m. to 8 a.m. sleeping (8 hours is enough).
(George Maciunas, letter to Tomas Schmit, January 1964)
Marcel Duchamp’s Apolinère Enameled, 1916–1917
Rhonda Roland Sherer’s “Marcel Duchamp’s Impossible Bed and Other ‘Not’ Readymade Objects: A Possible Route of Influence From Art To Science”