Shearer, Rhonda Roland, 1954-

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Gould, Stephen Jay and Rhonda Roland Shearer. "Boats and Deckchairs." Typescript.

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Correspondence from Hans Maria de Wolf to Michael Taylor, Curator of 20th Century Art at the Philadelphia Museum of Art.

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Correspondence from Thomas Girst, Editor-in-Chief for Tout-Fait, to Anne d'Harnoncourt, George D. Widener Director of the Philadelphia Museum of Art. Includes outline, call for papers, and list of Tout-Fait staff members.

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Lecture notes for "Photo Dada par Marcel Duchamp" by Hans Maria de Wolf. Includes correspondence from Wolf to Anne d'Harnoncourt, George D. Widener Director of the Philadelphia Museum of Art.

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Shearer, Rhonda Roland. "Marcel Duchamp's impossible bed and other 'not' readymade objects: a possible route of influence from art to science." Paper submitted to Art & Academe from lecture given at the School of Visual Arts, Eleventh Annual National Conference on Liberal Arts and the Education of Artists.

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Shearer, Rhonda Roland. "Poincaré's Fuschian Functions: The Source for Duchamp's Readymades Revealed." Typescript. Includes correspondence from Stephen Jay Gould to Anne d'Harnoncourt, George D. Widener Director of the Philadelphia Museum of Art.

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Press releases for Tout-Fait, the Marcel Duchamp Online Journal, from the Art Science Research Laboratory, Inc.

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Science News, volume 157. "An Artist's Timely Riddles: Deploying Scientific Methods to Understand a Dada Artist's Provacative Creations" by Ivars Peterson [copy].

Scope and Contents From the Sub-Series: By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...

Scope and Contents From the Sub-Series: By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...