Francis M. Naumann

Francis M. Naumann teaches at the Parsons School of Design and has written or numerous arts journals.

  • How, When, and Why Modern Art Came to New York

    How, When, and Why Modern Art Came to New York

    Francis M. Naumann and Marius de Zayas

    Marius de Zayas (1880-1961), a Mexican artist and writer whose witty caricatures of New York's theater, dance, and social elite brought him to the attention of Alfred Stieglitz and his circle at "291," was among the most dedicated and effective propagandists of modern art during the early years of this century. How, When, and Why Modern Art Came to New York, originally written in the late 1940s, is a fascinating chronicle assembled from de Zayas's personal archive of photographs and from newspaper reviews of the exhibitions he discusses, beginning with those held at the Stieglitz gallery and including important shows mounted in his own galleries. An appendix added by the editor provides detailed information on the various exhibitions. Additional appendixes contain transcriptions of the de Zayas and Stieglitz correspondence, as well as an account of de Zayas's unique relationship with Picasso, a Spaniard with whom he felt a special kinship and whose work he would be among the first in America to promote and defend.

    • Hardcover $40.00
    • Paperback $35.00
  • Marcel Duchamp

    Marcel Duchamp

    Artist of the Century

    Rudolf E. Kuenzli and Francis M. Naumann

    One hundred years after his birth, Marcel Duchamp remains an enigma; no other artist, perhaps, has produced so varied a group of masterpieces in so short a span of time. These eleven illustrated essays explore the structure and meaning of Duchamp's work as part of an ongoing critical enterprise that has just begun. Ranging from the Munich period and the development of the ready-mades to the last work, Etant donnés, they present the latest thinking on Duchamp and his ideas.

    • Hardcover $30.00
    • Paperback $24.95


  • Inventing Marcel Duchamp

    Inventing Marcel Duchamp

    The Dynamics of Portraiture

    Anne Collins Goodyear and James W. McManus

    An old genre is given a new look, as portraits and self-portraits of Marcel Duchamp invent and cover up as much as they reveal and portray.

    One of the most influential artists of the twentieth century, Marcel Duchamp (1887-1968) was a master of self-invention who carefully regulated the image he projected through self-portraiture and through his collaboration with those who portrayed him. During his long career, Duchamp recast accepted modes for assembling and describing identity, indelibly altering the terrain of portraiture. This groundbreaking book (which accompanies a major exhibition at the Smithsonian Institution's National Portrait Gallery) demonstrates the ways in which Duchamp willfully manipulated the techniques of portraiture both to secure his reputation as an iconoclast and to establish himself as a major figure in the art world. Although scholars have explored Duchamp's use of aliases, little attention has been paid to how this work played into, and against, existing portrait conventions. Nor has any study yet compared these explicitly self-constructed projects with the large body of portraits of Duchamp by others. Inventing Marcel Duchamp showcases approximately one hundred never-before-assembled portraits and self-portraits of Duchamp. The (broadly defined) self-portraits and self-representations include the famous autobiographical suitcase Boîte-en-Valise and Self-Portrait in Profile, a torn silhouette that became very influential for future generations of artists. The portraits by other artists include works by Duchamp's contemporaries Man Ray, Alfred Stieglitz, Francis Picabia, Beatrice Wood, and Florine Stettheimer as well as portraits by more recent generations of artists, including Andy Warhol, Jasper Johns, Sturtevant, Yasumasa Morimura, David Hammons, and Douglas Gordon. Since the mid-twentieth century, as abstraction assumed a position of dominance in fine art, portraiture has been often derided as an art form; the images and essays in Inventing Marcel Duchamp counter this, and invite us to rethink the role of portraiture in modern and contemporary art.

    • Hardcover $52.00