![]() ![]() Then during the war, I felt increasingly more incompatible with this milieu. So I tried to somewhatĮscape from the artists through the library. 1915), he notes the combined impact of war andįor a long time and even before the war, I have disliked this "artistic life" in which I was involved.-It is the exact opposite of what I want. Overlapped his discontent with art and his sense that he was incompatible with itsĮndeavors. Order to reduce his military service (Cabanne 19-20). Neither militaristic nor soldierly," he availed himself of the exemption of "art worker" by becoming a printer of engravings (the other option was to be a typographer) in He held thisĬonviction throughout his life, although after WWII it was colored by ambivalence and For lack of patriotism, if you wish" (Cabanne 59). during WWI, he stated: "I had left France basically for lack of militarism. Speaking of the reasons for his first migration to the Of time, Duchamp would once again assume the migrant condition inaugurated by his arrival toĭuchamp's repeated attempts to take refuge from war reflected his enduring aversion to militarism and patriotism. Left France this escape route would soon be cut off. Marseilles to New York, most artists and intellectuals had already Label "household goods." By, when Duchamp got his papers and headed from The materials forĪssembly and reproductions for fifty boxes were shipped off to New York in 1941 in twoĬases, along with Peggy Guggenheim's recently acquired art collection, under the Transported across the German lines a large suitcase filled not with cheese, but with materials for his boxes. Zones with a cheese dealer's pass in the spring of 1941, Duchamp anxiously Traveling between the unoccupied and occupied Miniature reproductions and replicas that he intended to assemble inĪmerica. Resembling a portable museum, The Box in a Valise (1935-41) collected 69 In this period he was producing materials for a box packed in a valise, aįolding exhibition space that would assemble reproductions of his artisticĬorpus. Packing his bags again, just as he did during World War I when he firstĬame to America. In Paris, half deserted and in darkness, he was "waiting for the first bomb, to leave for somewhere in theĬountry." The eruption of the war had Duchamp What? Everything is still a mess," he exclaimed. "How will we come out of it, if we come out of it?" At fifty-two, and thus too old for military service, Duchamp envisaged doing "some civilian work to Katherine Dreier about the onset of World War II following the ![]() How long will it last?" wondered Marcel Duchamp in a letter to Duchamp's "Luggage Physics": Art on the Moveīesides, you know, all my work, literally and ![]()
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