PUBLICATIONS



			LIST OF PUBLICATIONS BOOKS: The Recurrent, Haunting Ghost: Essays on the Art, Life and Legacy of Marcel Duchamp (Readymade Press, 2012) Conversion to Modernism: The Early Work of Man Ray (New Brunswick: Rutgers University Press, 2002); used as an exh. cat. for an exhibition of the same title at the Montclair Art Museum, Montclair, New Jersey, February 16 – August 3, 2003. Wallace Putnam (Harry N. Abrams, New York, 2002). Affectionately, Marcel: The Selected Correspondence of Marcel Duchamp (Ludion Press, Ghent, Belgium: 2000); distributed by Thames & Hudson, London, and D.A.P., New York. Marcel Duchamp: The Art of Making Art in the Age of Mechanical Reproduction (Ludion Press: Ghent, 1999); distributed in America by Harry N. Abrams, New York and by Thames & Husdson in England (published in French by Hazan, Paris, and Dutch by Mercatorfonds, Antwerp). Reviews: Ha. B., Le Monde (Paris: December 17, 1999), p. 11; Richard Leydier, Artpress (Paris: December 1999), p. 20; "Images," Publishers Weekly, January 3, 2000; Sheldon Nodelman, "The Once and Future Duchamp," Art in America (January 2000), pp. 37-43; Library Journal, February 1, 2000 Beatrice Wood: A Centennial Tribute [edited with an introduction], American Craft Museum, New York, 1997. Making Mischief: Dada Invades New York [edited with an introduction], catalogue that accompanied an exhibition on New YorkDada organized for the Whitney Museum of American Art, New York (November 21, 1996, and run through February 23, 1997). Selected Reviews (of the book and exhibition): Michael Kimmelman, "Forever Dada: Much Ado Championing the Absurd," New York Times (November 22, 1996), pp. C1, C24; Cathy Hainer, "The dynamics of dada," USA Today (November 25, 1996); Hilton Kramer, "Here Comes the Whitney, Now That Dada's Dead," New York Observer (December 2, 1996), pp. 1, 32; Mark Stevens, "High Spirits," New York (December 9, 1996), p. 77-78; Deborah Solomon, "Dada in N.Y., N.Y.," The Wall Street Journal (December 2, 1996); Peter Schjeldahl, "Head Trap," Village Voice (December 17, 1996), p. 85; Robert Hughes, "Days of Antic Weirdness," Time (January 27, 1997); Ann Landi, "Making Mischief," Artnews (February 1997); Rudolf Kuenzli, "Making Mischief," Artforum (April 1997), pp. 88-89; Donald Kuspit, "Report from New York: New York Dada in Retrospect," Art New England (April/May 1997), p. 11; Marcia E. Vetrocq, "The New York Pre-School," Art in America (June 1997), pp. 82-87. Introduction, notes, and appendices to Marius de Zayas, How, Why and When Modern Art Came to New York (MIT Press, Cambridge, Massachusetts, 1996). New York Dada 1915-1923 (New York: Harry N. Abrams, 1994). Reviews: Molly Nesbit, Artforum (November 1994); Janet Parker, Art & Antiques (November 1994); Barbara MacAdam, "Their Art Belonged to Dada," New York Newsday, December 24, 1994; Stephen C. Foster, The Art Journal, (Summer 1995); Patricia Railing, "If you're dada," Art Book (London), vol. 2, no. 1 (1995). Marcel Duchamp: Artist of the Century, ed. with Rudolf E. Kuenzli (Cambridge: MIT Press, 1989). Reviews: Charles F. Stuckey, "Duchamp Reconsidered," Art in America (date, 1990?): 51-54; David Hopkins, "De-Essentializing Duchamp/or… Rrose Sélavy: Dada's Mutter Stripped Bare," Art History (Oxford, England) 14, no. 2 (June 1991): 274-78; Richard Francis, The Burlington Magazine (London: July 1992). The William and Mary Sisler Collection (New York: The Museum of Modern Art, 1984). BOOK REVIEWS: Surrealism: Two Private Eyes: The Nesuhi Ertegun and Daniel Filipacchi Collections, in Eye On View (an online publication of Onview.com), posted January 2000. "Sugar Dada," review of Ingrid Schaffner and Lisa Jacobs, eds., Julien Levy: Portriat of an Art Gallery (Cambridge: MIT Press, 1998), Artforum XXXVII, no. 6 (February 1999): 19-20. "Arturo's Marcel," review of Arturo Schwarz, The Complete Works of Marcel Duchamp (New York: Delano Greenidge Editions, 1997), Art in America 86, no. 1 (January 1998): 35-39. See also the subsequent exchange "Dueling Duchampians: An Exchange," Art in America 87, no. 1 (January 1999), pp. 25-31, and Jeffrey Hogrefe, "Duchamp Scholars Face Off in Art in America Hate Mail," The New York Observer, January 11, 1999, p. 24, and my response (letter to the editor): "Duchamp Scholars," New York Observer, January 25, 1999: 2. Dickran Tashjian, Boatload of Madmen: Surrealism and the American Avant-Garde 1920-1950 (New York: Thames and Hudson, 1995), Bookforum (Fall/Winter 1995): 4, 7. Pontus Hulten, ed., Marcel Duchamp, with text by Jennifer Gough-Cooper and Jacques Caumont (Cambridge: MIT Press, 1993), Apollo (London) 138, no. 3 (October 1993): 262-63. Judi Freeman and John C. Welchman, Dada and Surrealist Word-Image (Los Angeles County Museum and MIT. Press, 1989), The Journal of Art 2, no. 2 (November 1989): 10-11. Clark S. Marlor, The Society of Independent Artists: Exhibition Record 1917-1944 (Park Ridge, New Jersey: Noyes Press, 1984); The Archives of American Art Journal 26, nos. 2 and 3 (Smithsonian Institution: Washington, D.C., 1986): 36-40. INTERVIEWS: "An Interview with Francis M. Naumann," on the subject of his book: Marcel Duchamp: The Art of Making Art in the Age of Mechanical Reproduction, in Eye on View (an online publication of Onview [www.onview.com]; posted March 2000); also published in Modern Painters [London] vol. , no. (April 2000): 00-00. "A Labyrinth of Media: The Photographs of Man Ray," with David Featherstone, Katherine Ware, Merry Foresta, Dickran Tashjian, Weston Naef and Jo Ann Callis, in Man Ray: In Focus, The J. Paul Getty Museum, Los Angeles, 1998: 101-37. "In Dialogue: Arthur Danto, Francis Naumann and Mike Bidlo," December 4, 1997, in Mike Bidlo: The Fountain Drawings, Tony Shafrazi Gallery / Edition Bischofberger, 1998: 16-58. "Interview with Paolo Serra," in Paolo Serra, Basel: Galerie Triebold, 1994); excerpts trans. in Italian in "Continuità della pittura: Intervista a Paolo Serra," Arte Critica, vol. III, no. 5 (Winter 1995): 22-23. "JANCO/DADA: An Interview with Marcel Janco," Arts 57, no. 3 (November 1982): 80-86. EXHIBITION CATALOGUES: "Retroactive Readymades," in AFTERSHOCK: The Legacy of the Readymade in American Post-War and Contemporary Art, Dickinson Gallery, New York, May 4 – June 15, 2003. "Man Ray: An American Artist in Pursuit of Liberty," in Man Ray in America: Paintings, Drawings, Sculpture, and Photographs from the New York/Ridgefield (1912-1921) and Hollywood (1940-50) Years, Francis M. Naumann Fine Art, New York, October 27, 2001 – January 5, 2002. "Piero Dorazio: 'Readable and Reversible From Beginning to End'," in Piero Dorazio, Achim Moeller Fine Art, New York, April 26 - May 30, 2000: 8-14. "Marcel Duchamp's L.H.O.O.Q.," in Marcel Duchamp: The Art of Making Art in the Age of Mechanical Reproduction: An Exhibition Catalogue, Achim Moller Fine Art, New York, October 2, 1999 - January 15, 2000; in French with translation by Marie Viat-Vanpenne in Etant donné (December 2001): 146-53. "Appropriating the Art of Marcel Duchamp: Richard Pettibone / Elaine Sturtevant / Sherrie Levine / Mike Bidlo," in Apropos of Marcel: The Art of Making Art After Duchamp in the Age of Mechanical Reproduction, Curt Marcus Gallery, New York, October 8-30, 1999. "Don't Forget I Come From the Tropics: The Surrealist Sculpture of Maria Martins," in Maria: The Surrealist Sculpture of Maria Martins, André Emmerich Gallery, New York, 17 March - 18 April 1998. "Dada (freedom) + Surrealism (pleasure) = Man Ray," in Man Ray: An American Surrealist Vision, André Emmerich Gallery, New York, 6 November - 20 December, 1997; in Japanese in Man Ray: Liberty and Pleasure, Itochu Gallery, Yumi Kawanabe, Japan, February 27 - April 17, 1998. "The Valise and Box in a Valise: A Brief History of Marcel Duchamp's Portable Museum," in de ou par MARCEL DUCHAMP ou RROSE SELAVY, Gallery Entwistle, London, May 22 - September 1, 1996. "Robert Rauschenberg: Urban Bourbons and Night Shades," in Robert Rauschenberg: NIGHT Shades & URBAN Bourbons, Galerie Beyeler, Basel, Switzerland, March 18 - May 13, 1995. "Beatrice Wood," in Susan Ehrlich, ed., Pacific Dreams: Currents of Surrealism and Fantasy in California Art, 1934-1957, UCLA at the Armand Hammer Museum of Art and Cultural Center, Los Angeles, July 11 - September 17, 1995: 186-87. "The Collection," in When Attitudes Become Form: Selections from a Contemporary New Jersey Collection, The Montclair Art Museum, Montclair, New Jersey, September 11 - December 4, 1994. "Mike Bidlo: Notes on a Visual Conversation Between Marcel Duchamp and Fernand Léger," in Mike Bidlo: "Not Léger", Zürich: Galerie Bruno Bischofberger, 1992. "Jasper Johns: According to What," in Jasper Johns: Watchman & According to What, New York: Gagosian Gallery (January 21 - March 14, 1992); exh. organized by Robert Pincus-Witten. "Etude pour les Joueurs d'Echecs;" "Portrait of John Quinn;" "Place Card for Carl Van Vechten;" "Place Card for Fania Marinoff;" in Marcel Duchamp, Antwerp, Belgium: Galerie Ronny van de Velde (September 15 - December 15, 1991). "The Drawings of Beatrice Wood," Beatrice Wood: Drawings and Ceramics, Cologne: Amerika Haus (May 2 - June 29, 1990); exh. organized by Thomas C. Dove. "Man Ray: An American Artist in Pursuit of Liberty," in Man Ray in America, Milwaukee: Patrick & Beatrice Haggerty Museum of Art, Marquette University (October 20, 1989 - December 4, 1989); author of essay and twenty-four catalogue entries. "The Other Side of Beatrice Wood: Drawings, Tiles, and Figurative Ceramic Sculpture," Intimate Appeal: The Figurative Art of Beatrice Wood, Oakland: The Oakland Museum (November 18, 1989 - February 18, 1990): 23-41. Man Ray: The New York Years, 1913-1921, New York: Zabriskie Gallery (November 29, 1988 - January 6, 1989). "Beatrice Wood: From Drawing to Dream (and Back Again)," Beatrice Wood: Disegni: 1970-1988, Ferrara: Galleria Civica d'Arte Moderna, Palazzo dei Diamanti (March 29 - June 26, 1988); cat. in English and Italian (trans. by Isabella Vichi). "Illusion and Reality: The Origin and Development of Collage and Assemblage in American Art," in Collage & Assemblage, Jackson: Mississippi Museum of Art (September 17 - November 15, 1981): 1-14. "Beatrice Wood and the Dada State of Mind," Beatrice Wood and Friends: From Dada to Deco, New York: The Rosa Esman Gallery (May 16 - June 16, 1978). ARTICLES: "Marcel Duchamp: Money is no Object," Art in America, no. 3 (March 2003): 67-73. "Marcel Duchamp: The Art of Defying the Art Market," Tout Fait, online journal, posted March 2003. "Letter to the Editor" (in response to Donald Kuspit’s article on Marcel Duchamp), Tema Celeste (Summer 2001): "Modern Art in America: Alfred Stieglitz and His New Galleries," Artforum 39, no. 9 (May 2001): 173-74. "Marcel & Maria," Art in America 89, no. 4 (April 2001): 98-111, 157. "Enough is Enough is Enough" (a critique of Donald Kuspit's writings on Marcel Duchamp), Artnet [www.artnet.com] June 2000. "Whitney Biennial 2000: A Message fort the Millennium," published in the online magazine, Onview [www.onview.com], April 2000. "Duchamp's Erotic Souvenir," Artnews 99, no. 2 (February 2000): 100-01. "Afterthought: Ruminations on Duchamp and Walter Benjamin," in Tout-Fait, vol. I, no. 1 (an online journal: www.toutfait.com; posted: January 2000). "Letter to the Editor" (in response to Ronda Roland Shearer’s response to my letter), The Sciences 37, no. 5 (September-October 1997): 7-63. "The American Century: Art & Culture 1900-2000" (preview of the exhibition at the Whitney Museum of American Art), Artforum 37, no. 9 (May 1999): 51. "Against Gravity" (on the art of Tom Shannon), Art in America 87, no. 4 (April 1999): 126-29. "What’s in a Word?" (letter to the editor in response to Ronda Roland Shearer’s article on Duchamp), The Sciences (September/October 1997): 7, 63. "Precise and not so controlled: The Bride Stripped Bare by Her Bachelors, Even and Related Works on Glass by Marcel Duchamp," Glass (Fall 1995): 34-41. "Man Ray: A Painter Worth Knowing," The Guardian, London, February 7, 1995. "The Influence of Marcel Duchamp," The Burlington Magazine, February 1995: 137-39. "Dada Did It," Art in America 82, no. 6 (June 1994): 66-69, 117. "A Lost American Futurist," Art in America 82, no. 4 (April 1994): 104-13, 141. "The Bachelor's Quest," Art in America 81, no. 9 (September 1993): 72-81, 67-69. "Matisse: A Symposium," Art in America 81, no. 5 (May 1993): 81. "Frederic C. Torrey and Marcel Duchamp's Nude Descending a Staircase," in Bonnie Clearwater, ed., West Coast Duchamp (Miami Beach: Grassfield Press, 1991): 10-23. "Amicalement, Marcel: Fourteen Letters from Marcel Duchamp to Walter Pach," Archives of American Art Journal 29, nos. 3 & 4 (1989): 36-50. "Marcel Duchamp," The Dictionary of Art, vol. 9 (London: MacMillan, 1996), pp. 354-60. "Luster for Life" [Beatrice Wood at Ninety-Seven], House & Garden 162, no. 6 (June 1990): 70-73. "Man Ray: Hills, 1914," Masterworks of American Art from the Munson-Williams-Proctor Institute, New York: Harry N. Abrams, 1989: 116-117. "Man Ray, 1908-1921: From an Art in Two Dimensions to the Higher Dimension of Ideas," in Perpetual Motif: The Art of Man Ray (Washington, D.C.: National Museum of American Art; New York: Abbeville Press, 1988): 50-87 (published simultaneously in Italian by Mondadori, Milan, in French by Gallimard, Paris, and in German by Stemmle, Dusseldorf). "Marcel Duchamp: A Reconciliation of Opposites," Dada/Surrealism 16 (Iowa: University of Iowa, 1987): 20-40; repr. in Kuenzli and Naumann, eds., Marcel Duchamp: Artist of the Century (Cambridge: MIT Press, 1989); repr. in French, Marcel Duchamp et ses frères, Paris: Galerie Dina Vierny, 1989; repr. with revisions in Thierry de Duve, ed., The Definitively Unfinished Marcel Duchamp (Cambridge: MIT Press, 1991): 40-67 (with accompanying discussion: 69-82); repr. in Tina Grant and Joann Cerrito, eds. Modern Arts Criticism (Detroit: Gale Research, 1993): 226-32. "Marcel Duchamp's Letters to Walter and Louise Arensberg: 1917-1921," introduction, translation and notes, Dada/Surrealism no. 16 (Iowa: The University of Iowa, 1987): 203-227; repr. in Rudolf E. Kuenzli and Naumann, eds. Marcel Duchamp: Artist of the Century (Cambridge: MIT Press, 1989). "Man Ray: Black Tray, 1914," in The Advent of Modernism: Post-Impressionism in North American Art, 1900-1918, Morrin, Zilczer and Agee, eds. (Atlanta: High Museum of Art, 1986): 150-51. "Man Ray and the Ferrer Center: Art and Anarchy in the Pre-Dada Period," Dada/Surrealism, no. 14, (1985): 10-20; repr. in Rudolf E. Kuenzli, ed., New York Dada (New York: Willis, Locker & Owens, 1986); published in Italian: "Man Ray e il Centro Ferrer: Arte and Anarchia," Volontá, no. 2 (Milan: 1986): 80-102; repr. in Drunken Boat: Art Rebellion Anarchy, Max Blechman, ed. (New York: Autonomedia, 1994): 67-87. "Adolf Wolff, 'Poet Sculptor and Revolutionist, but Mostly Revolutionist'" (with Paul Avrich), The Art Bulletin LXVII, no. 3 (1985): 486-500; repr. in Drunken Boat 1 (January 1992): 38-49. "From Origin to Influence and Beyond: Brancusi's 'Column Without End'," Arts 59, no. 9 (May 1985): 112-18. "Affectueusement, Marcel: Ten Letters from Marcel Duchamp to Suzanne Duchamp and Jean Crotti," Archives of American Art Journal 22, no. 4 (Spring 1983): 2-19. "The Drawings of Beatrice Wood," in Beatrice Wood, exhibition catalogue, California State University, Fullerton, California (February 5 - March 3, 1983): 8-20; an abridged version of this essay appeared in American Craft 43, no. 4 (August/ September 1983): 24; an expanded version was also published in Arts 57, no. 7 (March 1983): 108-111. "Man Ray's Early Paintings 1913-1916, Theory and Practice in the Art of Two Dimensions," Artforum XX, no. 9 (May 1982): 37-46; repr. in Japanese: Art Vivant, no. 31 (1989): 73-91. "New Light on Some Old Perspective Problems and Piero's Egg for the Dozenth Time," Iris I, no. 1 (February 1982): 3-5. "Preface," to The Angel Who Wore Black Tights, by Beatrice Wood, Rogue Press, Ojai, California, 1982. "How, When, and Why Modern Art Came to New York," by Marius de Zayas (intro. and notes), Arts 54, no. 8 (April 1980): 96-126. "The New York Dada Movement: Better Late Than Never," Arts 54, no. 6 (February 1980): 143-49. "Walter Conrad Arensberg: Poet, Patron, and Participant in the New York Avant-Garde, 1915-20," Philadelphia Museum of Art Bulletin 76, no. 328 (Spring 1980): 1-32. "The 'Costruzione Legittima' in the Reconstruction of Leonardo da Vinci's Last Supper," Arte Lombarda 52 (Spring 1979), pp. 63-89. "'The Big Show,' The First Exhibition of the Society of Independent Artists, 1917," Part I: Artforum XVII, no. 6 (February 1979): 34-39; Part II: "The Critics," Artforum XVII, no. 8 (April 1979): 49-53. "Excerpts from the Autobiography of Beatrice Wood," (intro. and notes), Arts 51, no. 9 (May 1977): 134-139. "Cryptography and the Arensberg Circle," Arts 51, no. 9 (May 1977): 127-133. "Eve's Idle Hand," ed. by Leo Steinberg (my essay included in this publication) Art Journal XXXV, no. 2 (Winter 1975/76): 134. "Steve Reich, Paula Tavins, Red Grooms, John DeAndrea, Martin Hoffman," Artforum XII, no. 7 (March 1974): 77-79. "June Leaf, Rosemarie Castoro, Robert Rohm, Ray Ring, Don Celender, John Fawcett," Artforum XII, no. 6 (February 1974): 76-78. "Stephen Rosenthal, Martin Bressler, Jacqueline Gourevitch, Vincent Inconiglios, Pierre Montant," Artforum XII, no. 5 (January 1974): 78-79.