The Mammoth Book of Gorgeous Guys: Erotic Photographs of Men (Mammoth Books)

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People also searched for. Male Calendar Books. Nude Calendar Books. He executed the work on two panes of glass with materials such as lead foil, fuse wire, and dust. It combines chance procedures, plotted perspective studies, and laborious craftsmanship. He published notes for the piece, The Green Box , intended to complement the visual experience.

They reflect the creation of unique rules of physics, and a mythology which describes the work. He stated that his "hilarious picture" is intended to depict the erotic encounter between a bride and her nine bachelors. A performance of the stage adaptation of Roussel 's novel Impressions d'Afrique, which Duchamp attended in , inspired the piece.

Notes, sketches and plans for the work were drawn on his studio walls as early as In order to concentrate on the work free from material obligations, Duchamp found work as a librarian while living in France. After immigrating to the United States in , he began work on the piece financed by the support of the Arensbergs.

The piece is partly constructed as a retrospective of Duchamp's works, including a three-dimensional reproduction of his earlier paintings Bride , Chocolate Grinder and Glider containing a water mill in neighboring metals — , which has led to numerous interpretations. The work was formally declared "Unfinished" in Returning from its first public exhibition in a shipping crate, the glass suffered a large crack. Duchamp repaired it, but left the smaller cracks in the glass intact, accepting the chance element as a part of the piece. Joseph Nechvatal has cast a considerable light on The Large Glass by noting the autoerotic implications of both bachelorhood and the repetitive, frenetic machine; he then discerns a larger constellation of themes by insinuating that autoeroticsm — and with the machine as omnipresent partner and practitioner — opens out into a subversive pan-sexuality as expressed elsewhere in Duchamp's work and career, in that a trance-inducing pleasure becomes the operative principle as opposed to the dictates of the traditional male-female coupling; and he as well documents the existence of this theme cluster throughout modernism, starting with Rodin's controversial Monument to Balzac , and culminating in a Duchampian vision of a techno-universe in which one and all can find themselves welcomed.

Duchamp's interest in kinetic works can be discerned as early as the notes for The Large Glass and the Bicycle Wheel readymade, and despite losing interest in "retinal art," he retained interest in visual phenomena. The piece, which he did not consider to be art, involved a motor to spin pieces of rectangular glass on which were painted segments of a circle. When the apparatus spins, an optical illusion occurs, where the segments appear to be closed concentric circles.

Man Ray set up equipment to photograph the initial experiment, but when they turned the machine for the second time, a belt broke, and caught a piece of the glass, which after glancing off Man Ray's head, shattered into bits. This time the optical element was a globe cut in half, with black concentric circles painted on it. When it spins, the circles appear to move backward and forward in space. Duchamp asked that Doucet not exhibit the apparatus as art.

Rotoreliefs were the next phase of Duchamp's spinning works. To make the optical "play toys", he painted designs on flat cardboard circles and spun them on a phonographic turntable. When spinning, the flat disks appeared three-dimensional. He had a printer produce sets of six of the designs, and set up a booth at a Paris inventors' show to sell them. The venture was a financial disaster, but some optical scientists thought they might be of use in restoring three-dimensional stereoscopic sight to people who have lost vision in one eye.

Later, in Alexander Calder 's studio in , while looking at the sculptor's kinetic works, Duchamp suggested that these should be called " mobiles ".

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Calder agreed to use this novel term in his upcoming show. To this day, sculptures of this type are called "mobiles". Between and , Duchamp worked with various musical ideas. At least three pieces have survived: two compositions and a note for a musical happening. The two compositions are based on chance operations.

Erratum Musical , written for three voices, was published in Erratum Musical is unfinished and was never published or exhibited during Duchamp's lifetime. According to the manuscript, the piece was intended for a mechanical instrument "in which the virtuoso intermediary is suppressed".

The manuscript also contains a description for "An apparatus automatically recording fragmented musical periods," consisting of a funnel, several open-end cars and a set of numbered balls. In , Duchamp and John Cage appeared together at a concert entitled "Reunion", playing a game of chess and composing Aleatoric music by triggering a series of photoelectric cells underneath the chessboard. The name, a pun , sounds like the French phrase Eros , c'est la vie , which may be translated as "Eros, such is life.

Duchamp later used the name as the byline on written material and signed several creations with it. The sculpture, a type of readymade called an assemblage , consists of an oral thermometer , a couple of dozen small cubes of marble resembling sugar cubes and a cuttlefish bone inside a birdcage. Empowered by J. Morgan, and then by his son Jack, Greene built the collection buying and selling rare manuscripts , books and art. Duchamp said in an interview, "You think you're doing something entirely your own, and a year later you look at it and you see actually the roots of where your art comes from without your knowing it at all.

Note that the 'salt seller' aphorism — "mar-chand-du-sel" — is a phonetic rearrangement of the syllables in the artist's name: "mar-cel-du-champ. In , Duchamp took leave of the New York art scene, interrupting his work on the Large Glass , and went to Buenos Aires, where he remained for nine months and often played chess. He carved his own chess set from wood with help from a local craftsman who made the knights. He moved to Paris in , and then back to the United States in Upon his return to Paris in , Duchamp was, in essence, no longer a practicing artist. Instead, his main interest was chess, which he studied for the rest of his life to the exclusion of most other activities.

He designed the Poster for the Third French Chess Championship, and as a competitor in the event, finished at fifty percent 3—3, with two draws , earning the title of chess master. During this period his fascination with chess so distressed his first wife that she glued his pieces to the board. Duchamp continued to play in the French Championships and also in the Chess Olympiads from to , favoring hypermodern openings such as the Nimzo-Indian.

Sometime in the early s, Duchamp reached the height of his ability, but realized that he had little chance of winning recognition in top-level chess. In the following years, his participation in chess tournaments declined, but he discovered correspondence chess and became a chess journalist, writing weekly newspaper columns.

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While his contemporaries were achieving spectacular success in the art world by selling their works to high-society collectors, Duchamp observed, "I am still a victim of chess. It has all the beauty of art—and much more. It cannot be commercialized. Chess is much purer than art in its social position. I have come to the personal conclusion that while all artists are not chess players, all chess players are artists. This treatise describes the Lasker-Reichhelm position , an extremely rare type of position that can arise in the endgame.

Using enneagram -like charts that fold upon themselves, the authors demonstrated that in this position, the most Black can hope for is a draw. The theme of the "endgame" is important to an understanding of Duchamp's complex attitude toward his artistic career.

Irish playwright Samuel Beckett was an associate of Duchamp, and used the theme as the narrative device for the play of the same name, Endgame. In , Duchamp played an artistically important chess match with avant-garde composer John Cage, at a concert entitled "Reunion".

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Music was produced by a series of photoelectric cells underneath the chessboard, triggered sporadically by normal game play. On choosing a career in chess, Duchamp said, "If Bobby Fischer came to me for advice, I certainly would not discourage him—as if anyone could—but I would try to make it positively clear that he will never have any money from chess, live a monk-like existence and know more rejection than any artist ever has, struggling to be known and accepted.

Duchamp left a legacy to chess in the form of an enigmatic endgame problem he composed in The problem was included in the announcement for Julian Levi's gallery exhibition Through the Big End of the Opera Glass , printed on translucent paper with the faint inscription: "White to play and win". Grandmasters and endgame specialists have since grappled with the problem, with most concluding that there is no solution. Although Duchamp was no longer considered to be an active artist, he continued to consult with artists, art dealers and collectors.

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From then until , together with Max Ernst , Eugenio Granell , and Breton, Duchamp edited the Surrealist periodical VVV , and served as an advisory editor for the magazine View , which featured him in its March edition, thus introducing him to a broader American audience. Duchamp's influence on the art world remained behind the scenes until the late s, when he was "discovered" by young artists such as Robert Rauschenberg and Jasper Johns , who were eager to escape the dominance of Abstract Expressionism. He was a co-founder of the international literary group Oulipo in Interest in Duchamp was reignited in the s, and he gained international public recognition.


In , the Pasadena Art Museum mounted his first retrospective exhibition, and there he appeared in an iconic photograph playing chess opposite nude model Eve Babitz. In the Tate Gallery hosted a large exhibit of his work. Other major institutions, including the Philadelphia Art Museum and the Metropolitan Museum of Art , followed with large showings of Duchamp's work.

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He was invited to lecture on art and to participate in formal discussions, as well as sitting for interviews with major publications.