The Case of Marcel Duchamp - ACE145.5

Holmes tells Watson about Duchamp’s next preoccupation, that of celibacy and the loss of innocence. Studies for The Bride Stripped Bare by her Bachelors, Even / La Mariée mise à nu par ses celibataires meme (1913), Virgin No.1, Virgin No.2, Transition of Virgin into a Bride / Le Passage de la Vierge à la Mariée (all 1912). Duchamp’s voice over photograph explaining he didn’t want to be labelled as artist or writer. Car travelling along the road between Paris and Jura; reading from Duchamp’s La Route Jura-Paris (1912). Holmes talking about Duchamp’s technique in the Bride paintings. Duchamp speaking about "retinal" painting [BBC interview]. Annotations by Toby. The Bibliothèque St. Geneviève, Paris, where, Holmes explains, Duchamp went to work for two years while working out his theories which he jotted down on scraps of paper. Duchamp talking (and VO) about the later version of The Bride Stripped Bare by her Bachelors, Even, known as The Large Glass, on glass panels which have no "background" or in which the "background" can be changed every day. Text, notes. Duchamp says the ideas are more important than the visual realisation, though this is difficult for the public to get to grips with [BBC interview]. The work analysed through diagrams and texts which show and describe each component, including the chocolate grinder, the scissors, the glider and the moulds. Watson suggests a reconstruction of events. Holmes talks about Duchamp using methods and materials that had never been used in art before.