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Marcel Duchamp

NEWS
November 14, 1993 | By Edward J. Sozanski, INQUIRER ART CRITIC
If Sherrie Levine were a writer, her creative method might be regarded as chutzpah-enriched plagiarism. But Levine is a visual artist, and the visual arts have always been much more permissive about borrowing. For the most part, Levine's art is not only derived from that of other artists, it is their work. She has never pretended otherwise. She has always acknowledged her sources, which include U.S. photographer Walker Evans, Russian painter Kasimir Malevich and French Dada master Marcel Duchamp.
NEWS
February 13, 1994 | By Edward J. Sozanski, INQUIRER ART CRITIC
Great museum collections often have their roots in great personal collections assembled by individuals of exceptional taste and discernment. For example, two major bequests in the early 1950s gave the Philadelphia Museum of Art a strong position in early modern art. One is the Louise and Walter Arensberg collection. The Arensbergs were not only pioneering collectors of artists such as Constantin Brancusi and Marcel Duchamp, they presided over a cultural salon in their Manhattan apartment that included writers and musicians as well as artists.
NEWS
March 30, 1987 | The Philadelphia Inquirer / AKIRA SUWA
WITH THEIR HANDS, a group of blind Japanese students examines Marcel Duchamp's "Bicycle Wheel" at the Philadelphia Museum of Art. The students, who won a Japanese contest for plastic works, are touring museums in the United States because Japanese museums do not offer any "touch" privileges. During the weekend, they also visited the Rodin Museum.
NEWS
October 2, 1998 | by Rose DeWolf, Daily News Staff Writer
You spill your wastebasket onto the floor. And what have you got? A work of art, that's what. If you find that hard to believe, check out the exhibit titled "Joseph Cornell/Marcel Duchamp: In Resonance" opening Thursday at the Philadelphia Museum of Art. One work in that exhibit consists of 117 discarded items, including postcards, dry-cleaning receipts and assorted scraps that were piled into a box. As it happens, these scraps belonged...
NEWS
June 3, 2011 | By Stephan Salisbury, INQUIRER CULTURE WRITER
Michael R. Taylor, the highly regarded curator of modern art at the Philadelphia Museum of Art, has been named director of the Hood Museum of Art at Dartmouth College. He will assume his new position in August, succeeding Brian Kennedy, who moved to the Toledo Museum of Art in September. Taylor, who was named the Art Museum's first modern art curator in 2004, said in a statement that he was "absolutely delighted" with his new position. The Hood's collection, he said, offered "exciting possibilities," particularly in the area of "student-driven exhibitions, which I believe hold the key to the museum's future success.
ENTERTAINMENT
September 6, 2003 | By Edward J. Sozanski INQUIRER ART CRITIC
Ann Temkin, curator of modern and contemporary art at the Philadelphia Museum of Art, has been appointed curator of painting and sculpture at the Museum of Modern Art, New York, effective Oct. 1. Temkin, hired by the Art Museum in 1987 as an assistant curator, became head of the department then called 20th-century art in 1990. Sept. 25 will be her last day in that job. She said yesterday that it would be exciting to help MoMA figure out, "both from a conceptual and practical point of view," how to present the museum's matchless collection of modern art in its new building, now under construction.
ENTERTAINMENT
April 17, 1999 | By Jonathan Valania, FOR THE INQUIRER
Guitarist John Fahey - drifter, recluse, some say sorcerer - does for the blues, folk and other American primitive idioms what Marcel Duchamp did for nudes descending staircases. His celebrated playing illustrates the concentric circles of motion and being. Though Fahey has been hailed as one of the great finger-style guitarists of the 20th century, over his itinerant 40 years of music-making he has been riddled with the bite marks of as many mythical hellhounds on his trail as any Delta bluesman.
ENTERTAINMENT
June 19, 1998 | By Carrie Rickey, INQUIRER MOVIE CRITIC
In contemporary art, context is all. Marcel Duchamp proved that definitively by exhibiting an ordinary urinal and demanding that we regard it as sculpture rather than as a utilitarian bathroom fixture. The context of Frozen, which involves a fatalistic performance artist in contemporary China, is rather more elusive. This profoundly troubling and pseudonymously made (for political reasons) film focuses on a Beijing artist who carefully plans his final work: suicide. Not by pills or blade, but by ice. He contrives to bury himself under a block of ice and die of hypothermia.
ENTERTAINMENT
November 9, 1990 | By Lesley Valdes, Inquirer Music Critic
Charles Dutoit, the Philadelphia Orchestra's summer music director, returned to the Academy of Music last night to begin his winter guest engagements. His program opened boldly with Edgard Varese's Arcana, which Leopold Stokowski and this orchestra introduced to the world 63 years ago, and which, given a few more performances, has the makings of a signature piece for the Philadelphians with Dutoit. The world still doesn't know Arcana well, which is likely one reason it still makes such a dazzling impression; another is its catapulting energy despite its considerable metallic and percussive weight.
NEWS
October 14, 1987 | By DAVE BITTAN, Daily News Staff Writer
John Sculley has packed a lot into his 46 years. After getting his M.B.A. from the University of Pennsylvania's Wharton School in 1963, he soon connected with Pepsi-Cola - and worked his way up to president and chief executive officer. Tonight at 11, he will talk to Larry King about personal computers on WIP (AM/610). Sculley is currently president and CEO of giant Apple Computers. Through the magic of tape, he also will appear twice tomorrow at 3 p.m. - with Harry Gross on WCAU (AM/1210)
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