Marcel Duchamp's Boîte-en-valise: The Museum of MetamorphosisMain MenuIntroductionThe Museum of MetamorphosisCatalogue essayThe Seven Series of BoîtesBoîtes in Museum Collections around the World…and OnlineFurther Reading[bibliography page]Lauren Rooney597ff088ef1db884d9e8445c7e06bd004b6c1250
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12023-06-20T13:26:24-07:00Lauren Rooney597ff088ef1db884d9e8445c7e06bd004b6c1250427003Monte Carlo Bond digression footnote 3plain2023-06-20T13:40:04-07:00Lauren Rooney597ff088ef1db884d9e8445c7e06bd004b6c1250See, for instance, 3 Standard Stoppages (3 Stoppages Étalon) (1913-14), in which Duchamp dropped three one-meter-long threads in succession from a height of one meter and fixed them with varnish in the different shapes in which they had landed. He would use these curves to structure elements of later works, including the Large Glass. See Bonk, Marcel Duchamp: The Box in a Valise, 10.
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12023-06-20T13:31:13-07:00"Don't be too skeptical…"3plain2023-06-20T13:37:28-07:00Duchamp issued this homemade bond at the end of 1924, promising a dividend of 20% on his winnings at the roulette wheel.1 When designer and art collector Jacques Doucet bought one, Duchamp assured him, "Don't be too skeptical, since this time I think I have eliminated the word chance. I would like to force the roulette wheel to become a chessboard."2 These remarks evince a more overtly controlling attitude than that which had characterized Duchamp's previous artistic engagements with chance, in which he had sought carefully circumscribed ways in which to introduce aleatory elements into his work.3