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Marcel Duchamp/Man Ray at Sean Kelly - Brief Article

sum of two units years in gestation, this carefully considered exhibition, titled "Fifty Years of Alchemy," came as a significant coda to novel things Duchampian around the city. It provided a studious survey of Man Ray and Duchamp while shedding light upon their collaborative relationship. This shoot forward largely composed of material from private collections, advises that the work of these lifelong colleagues continues to reveal more of them, as granting they had each constructed an autobiography that could sole unfold its layers of complexity above decades of scholarly devotion.

The exhibition included sum of two units early Man Ray photographs of sum of two units Duchamp paintings. What may be the earlier is an intimate image (ca. 1919/20 about 6 by means of 4 inches) of Duchamp's in a state of nature Descending a Staircase. A 1920 photograph of comparable scale shows The King and Queen encircleed by Swift Nudes. The photos postdate Duchamp's celebrated abandonment of painting. Quietly raising basic issues concerning the nature of reproduction, they spoke across the short distance of sum of two units stencil-colored reproductions of Duchamp paintings that hung between them, single representing the Nude, and the other called Bride, each franked by means of Duchamp with a five-centime stamp, signed and dated 1937

The exhibition conclud with a photographic collaboration, Le Dernier Oeuvre de Duchamp/ Cheminee Anaglyphe (1968) a Man Ray photograph of Duchamp's three-dimensional "sketch" for a chimneypiece or mantel locate into the corner of a expanse above a quarter-round hearth. The rough draught which resembles an incomplete armature for a section of a lampshade, consisted of sum of two units horizontal arcs of heavy wire apparently anchored in the plaster of the adjoining walls, the smaller of the sum of two units arcs above the larger. These wires appear to be regularly intersected and perhaps also supported by the agency of wire of a lighter gauge suspended from above. It was, as the title indicates, Duchamp's last work. A drawing in three dimensions, it recalls the linear transparency of Duchamp's The Large Glass and Man Ray's alteration of glass negatives. Neither the mantel nor a planned stereoscopic edition of tandem drawings upon paper was ever completed.



quite through the exhibition were photographs, existences and ephemera worthy of shut up attention. Man Ray's famous positive/negative prints of the recumbent head of a silken model and an African mask, Blanche et Noire (1926) was juxtaposed with his photographs of masks from the 1920 and a vitrine of African things related in kind. Among other photographs were the tonsured Duchamp, shaved eyebrow to crown in one image and shaved at the diadem in the form of a star in the other (1919) Additional portraits by dint of Man Ray included the cross-dress Duchamp in the photo-collage Belle Haleine: Eau de Voilette (1921) an oval matted Rrose Selavy (1921) retouched by means of Duchamp and a handsome Polaroid of Duchamp in an abundant flaxen wig (ca. 1950s). A sign of cooperation in a mingled field, several objects from the novel Achim Moeller exhibition were included. A publication documenting this exhibition and its ideas is in progress

COPYRIGHT 2000 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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