Editing Marcel Duchamp (section)

==Later artistic involvement==
Although Duchamp was no longer considered to be an active artist, he continued to consult with artists, art dealers and collectors. From 1925 he often traveled between France and the United States, and made New York's Greenwich Village his home in 1942. He also occasionally worked on artistic projects such as the short film ''Anémic Cinéma'' (1926), ''[[De ou par Marcel Duchamp ou Rrose Sélavy (La Boîte-en-valise)|Box in a Valise]]'' (1935–1941), ''Self Portrait in Profile'' (1958) and the larger work ''Étant Donnés'' (1946–1966). In 1943, he participated with [[Maya Deren]] in her unfinished film ''[[The Witch's Cradle]]'', filmed in [[Peggy Guggenheim]]'s [[Art of This Century gallery]], in which his hands manipulate the string game, Cat's Cradle, while his body is enmeshed in stop-motion-animated twine.

From the mid-1930s onward he collaborated with the [[Surrealists]]; however, he did not join the movement, despite the coaxing of [[André Breton]]. From then until 1944, together with [[Max Ernst]], [[Eugenio Granell]], and Breton, Duchamp edited the Surrealist periodical ''[[VVV (magazine)|VVV]]'', and served as an advisory editor for the magazine ''[[View (magazine)|View]]'', which featured him in its March 1945 edition, thus introducing him to a broader American audience.

Duchamp's influence on the art world remained behind the scenes until the late 1950s, when he was "discovered" by young artists such as [[Robert Rauschenberg]] and [[Jasper Johns]], who were eager to escape the dominance of [[Abstract Expressionism]]. In 1959, the publication in both French and English of Robert Lebel's catalogue raisonné made his work more widely accessible.<ref>Lebel, Robert. ''Marcel Duchamp''. New York: Grove Press, 1959.</ref> He was a co-founder of the international literary group [[Oulipo]] in 1960. Interest in Duchamp was reignited in the 1960s, and he gained international public recognition. In 1963, curator [[Walter Hopps]] organized Duchamp's first retrospective exhibition at the [[Pasadena Art Museum]], and there he appeared in an iconic photograph playing chess opposite nude model [[Eve Babitz]], photographed by [[Julian Wasser]].<ref>{{Cite web |last=Appleford |first=Steve |date=2023-02-09 |title=Julian Wasser, Famed L.A. Photojournalist, Dies at 89 |url=https://lamag.com/news/julian-wasser-famed-l-a-photojournalist-dies-at-89 |access-date=2024-04-14 |website=LAmag |language=en}}</ref><ref name="Anolik">{{cite magazine |last=Anolik |first=Lili |title=All About Eve—and Then Some |url=http://www.vanityfair.com/culture/2014/03/eve-babitz-los-angeles-party-scene |magazine=Vanity Fair |access-date=1 March 2014 |date=March 2014 |url-status=live |archive-url=https://web.archive.org/web/20140228110425/http://www.vanityfair.com/culture/2014/03/eve-babitz-los-angeles-party-scene |archive-date=28 February 2014}}</ref> The photograph was later described by the [[Smithsonian Archives of American Art]] as being "among the key documentary images of American modern art".<ref name=Karlstrom>{{cite web |last=Karlstrom |first=Paul |title=Oral history interview with Eve Babitz, 2000 Jun 14 |url=http://www.aaa.si.edu/collections/interviews/oral-history-interview-eve-babitz-12164 |work=Archives of American Art |publisher=Smithsonian Institution |access-date=1 March 2014 |url-status=live |archive-url=https://web.archive.org/web/20140306082515/http://www.aaa.si.edu/collections/interviews/oral-history-interview-eve-babitz-12164 |archive-date=6 March 2014}}</ref>

Artist and collaborator [[Richard Hamilton (artist)]] organized a retrospective at The [[Tate Gallery]]  in 1966. Other major institutions, including the [[Philadelphia Museum of Art]] and the [[Museum of Modern Art]], New York, followed with a retrospective of Duchamp's work in 1973. He was invited to lecture on art and to participate in formal discussions, as well as sitting for interviews with major publications. As the last surviving member of the Duchamp family of artists, in 1967 Duchamp helped to organize an exhibition in Rouen, France, called ''Les Duchamp: Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, Suzanne Duchamp''. Parts of this family exhibition were later shown again at the [[Musée National d'Art Moderne]] in Paris.

===Exhibition design and installation art===
[[File:Duchamp Mile of String.jpg|thumb|''His Twine'', by Duchamp, from "First Papers of Surrealism". Photo by John Schiff, 1942.]]
Duchamp participated in the design of the 1938 [[Exposition Internationale du Surréalisme]], held at the Galerie des Beaux-arts, Paris. The show was organised by [[André Breton]] and [[Paul Éluard]], and featured "Two hundred and twenty-nine artworks by sixty exhibitors from fourteen countries... at this multimedia exhibition."<ref name="widewalls">{{cite web |title=Behind The Scenes of the Legendary International Surrealist Exhibition {{!}} Widewalls |url=https://www.widewalls.ch/magazine/international-surrealist-exhibition-1938 |access-date=2020-08-18 |website=www.widewalls.ch}}</ref> The Surrealists wanted to create an exhibition which in itself would be a creative act, thus working collaboratively in its staging.  Marcel Duchamp was named as "Generateur-arbitre", Salvador Dalí and Max Ernst were listed as technical directors, Man Ray was chief lighting technician and [[Wolfgang Paalen]] responsible for "water and foliage".<ref>{{cite book |title=Jubiläums-Ausstellung Mannheim 1907: Internationale Kunst- und Grosse Gartenbau-Ausstellung, vom 1. Mai bis 20. Oktober : offizieller Katalog der Gartenbau-Ausstellung / |date=1907 |publisher=Internationale Kunst- und Grosse Gartenbau-Ausstellung |location=Mannheim |doi=10.5962/bhl.title.118599|url=https://www.biodiversitylibrary.org/item/205794 }}</ref>

''Plus belles rues de Paris'' (The most beautiful streets of Paris) filled one side of the lobby with mannequins dressed by various Surrealists.<ref name="widewalls" /> The main hall, or the ''Salle de Superstition'' (Room of Superstition), was "a cave-like [[Gesamtkunstwerk]]" notably including Duchamp's [[Installation art|installation]], ''Twelve Hundred Coal Bags Suspended from the Ceiling over a Stove'', which was literally 1,200 stuffed coal bags suspended from the ceiling.<ref name="artbeat">{{cite web |title=NYAB Event - "Display of the Centuries. Frederick Kiesler and Contemporary Art" Exhibition |url=http://www.nyartbeat.com/event/2015/C28C |access-date=2020-08-17 |website=www.nyartbeat.com}}</ref><ref name="Tate">{{cite web |last=Tate |title=Duchamp, Childhood, Work and Play: The Vernissage for First Papers of Surrealism, New York, 1942 – Tate Papers |url=https://www.tate.org.uk/research/publications/tate-papers/22/duchamp-childhood-work-and-play-the-vernissage-for-first-papers-of-surrealism-new-york-1942 |access-date=2020-08-17 |website=Tate}}</ref> The floor was covered by Paalen with dead leaves and mud from the [[Montparnasse Cemetery]]. In the middle of the grand hall underneath Duchamp's coal sacks, Paalen installed an artificial water-filled pond with real [[Nymphaeaceae|water lilies]] and reeds, which he called ''Avant La Mare''. A single light bulb provided the only illumination,<ref>{{cite web |url=http://www.toutfait.com/issues/volume2/issue_4/interviews/hirschhorn/popup_8.html |title=Marcel Duchamp |publisher=Toutfait.com |access-date=11 May 2014 |url-status=live |archive-url=https://web.archive.org/web/20130302054012/http://www.toutfait.com/issues/volume2/issue_4/interviews/hirschhorn/popup_8.html |archive-date=2 March 2013  }}</ref> so patrons were given [[flashlight]]s with which to view the art (an idea of Man Ray), while the aroma of [[Coffee roasting|roasting coffee]] filled the air. Around midnight, the visitors witnessed the dancing shimmer of a scantily dressed girl who suddenly arose from the reeds, jumped on a bed, shrieked hysterically, then disappeared just as quickly. Much to the Surrealists' satisfaction, the exhibition scandalized many of the guests.

In 1942, for the ''First Papers of Surrealism'' show in New York, surrealists called on Duchamp to design the exhibition. He created an installation, ''His Twine'', commonly  known as the "mile of string", it was a three-dimensional web of string throughout the rooms of the space, in some cases making it almost impossible to see the works.<ref name="Tate" /><ref>{{cite web |url=http://www.toutfait.com/issues/volume2/issue_4/interviews/hirschhorn/popup_9.html |title=Marcel Duchamp |publisher=Toutfait.com |access-date=11 May 2014 |url-status=live |archive-url=https://web.archive.org/web/20140623062319/http://www.toutfait.com/issues/volume2/issue_4/interviews/hirschhorn/popup_9.html |archive-date=23 June 2014  }}</ref> Duchamp made a secret arrangement with an associate's son to bring young friends to the opening of the show. When the formally-dressed patrons arrived, they found a dozen children in athletic clothes kicking and passing balls, and skipping rope. When questioned, the children were told to say "Mr. Duchamp told us we could play here". Duchamp's design of the catalog for the show included "found", rather than posed, photographs of the artists.

Breton with Duchamp organized the exhibition "Le surréalisme en 1947" in the [[Galerie Maeght]] in Paris after the war and named set designer [[Frederick John Kiesler|Frederick Kiesler]] as architect.<ref name="artbeat" />