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This article is a necessarily selective tale of two cities: Paris, and New York, though other cities appear in it – Chicago especially. It traces the process by which the center of avant-garde artwork – Dada and Surrealist – moved away from Paris to New York, symbolized, perhaps, by the end of Mina Loy’s novel, Insel, in which the narrator, who is collecting artworks for an American gallery, expressive of how capital was moving across the Atlantic, moves back from Paris to New York. The decisive event which ended Paris as a center was the occupation by the Nazis on 14 June 1940.
Introduction
The article traces Duchamp’s movement from Paris to New York, looks at the Dada circle in which he moved, and the Modernism of New York, before turning to Mina Loy and her time in Paris, and then in New York.
Duchamp and Futurism
Futuri...
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Further Reading
Adcock, Craig. 1984. Conventionalism in Henri Poincaré and Marcel Duchamp. Art Journal 44: 249–258.
Ades, Dawn, Neil Cox, and David Hopkins. 1999. Marcel Duchamp. London: Thames and Hudson.
Baumann, Jason. 2019. The Stonewall reader: The New York public library. New York: Penguin.
Benstock, Shari. 1987. Women of the left bank: Paris, 1900–1940. London: Virago.
Burke, Carolyn. 1996. Becoming modern: The life of Mina Loy. New York: Farrar, Strauss and Giroux.
Corbett, David Peters. 2011. The problematic past in the work of Charles Sheeler, 1917–1927. Journal of American Studies 45: 559–580.
Craven, Wayne. 1994. American art: History and culture. Boston: McGraw-Hill.
Gaedtke, Andrew. 2008. From transmissions of madness to machines of writing: Mina Loy’s Insel as clinical fantasy. Journal of Modern Literature 32: 143–162.
Gibbons, Tom H. 1981. Cubism and “the fourth dimension” in the context of the late nineteenth-century and early twentieth-century revival of occult idealism. Journal of the Warburg and Courtauld Institutes 44: 130–147.
Henderson, Linda Dalrymple. 1981. Italian futurism and “the fourth dimension”. Art Journal 41: 317–323.
Henderson, Linda Dalrymple. 1983. The fourth dimension and non-Euclidean geometry in modern art. Princeton: Princeton University Press.
Henderson, Linda Dalrymple. 1999. The large glass seen anew: Reflections of contemporary science and technology in Marcel Duchamp’s “hilarious picture”. Leonardo 32: 113–126.
Kern, Stephen. 1983. The culture of time and space, 1880–1918. London: Weidenfeld and Nicolson.
Loy, Mina. 2014. Insel. Ed. Elizabeth Arnold. Brooklyn: Melville House Publishing.
Pound, Ezra. 1977. Selected poems. London: Faber and Faber.
Reich, Sheldon. 1969. Paintings of New York, 1912. The American Art Journal 1: 43–52.
Sayre, Henry M. 1989. American vernacular: Objectivism, precisionism, and the aesthetics of the machine. Twentieth Century Literature 35: 310–342.
Singer, Thomas. 2004. In the manner of Duchamp, 1942–1947: The years of the “Mirrorical return”. The Art Bulletin 86: 346–369.
Spector, Jack J. 1991. Duchamp’s androgynous Leonardo: ‘Queue’ and ‘Cul’ in LHOOQ. Notes on the History of Art 11: 31–35.
Stein, Gertrude. 1996. The autobiography of Alice B. Toklass. Harmondsworth: Penguin.
Zurier, Rebecca. 2006. Picturing the city: Urban vision and the ashcan school. Berkeley: University of California Press.
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Tambling, J. (2020). Dada and Surrealism and American Cities. In: Tambling, J. (eds) The Palgrave Encyclopedia of Urban Literary Studies. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-62592-8_241-1
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DOI: https://doi.org/10.1007/978-3-319-62592-8_241-1
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