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Michael R. Taylor

Director, Hood Museum of Art at Dartmouth College

Ph.D., Courtauld Institute of Art, London, 1998
M.A., Courtauld Institute of Art, London
M.A., University of Edinburgh, Scotland

Course to be taught at Dartmouth

  • Art History 16.2, Picasso: The Vollard Suite

Special Interests

Michael R. Taylor is the Director of the Hood Museum of Art at Dartmouth College. Dr. Taylor studied at the Courtauld Institute of Art in London, where he wrote a doctoral dissertation on Marcel Duchamp's readymades, before joining the Philadelphia Museum of Art, where he was the Curator of Modern Art from 1997 to 2011.

His research interests include Modern and Contemporary Art, Curatorial Practice, and the History of Museums. He has published widely on Duchamp, Dada, and Surrealism. In 2009 he was co-commissioner with Carlos Basualdo for the Bruce Nauman exhibition at the American Pavilion for the 53rd Venice Biennale (winner of the Golden Lion award for best national pavilion). In 2009 Dr. Taylor's book Marcel Duchamp: Etant donnés won the George Wittenborn Prize and was also awarded first prize for best museum permanent collection catalogue by the American Association of Art Museum Curators.

Selected Publications


  • Marcel Duchamp: Étant donnés, New Haven: Yale University Press, in association with the Philadelphia Museum of Art, 2009.
  • Arshile Gorky: A Retrospective, New Haven: Yale University Press, in association with the Philadelphia Museum of Art, 2009.
  • Thomas Chimes: Adventures in 'Pataphysics', Philadelphia: Philadelphia Museum of Art, 2007.
  • Co-Author (with Dawn Ades), Salvador Dalí: The Centennial Retrospective, Milan: Bompiani, and New York: Rizzoli, 2004.
  • Jacques Lipchitz and Philadelphia, Philadelphia: Philadelphia Museum of Art, Museum Bulletin series, 2004.
  • Giorgio de Chirico and the Myth of Ariadne, Philadelphia: Philadelphia Museum of Art, and London: Merrell Publishers, 2002.
  • Co-author (with Ann Temkin and Susan Rosenberg), Twentieth Century Painting and Sculpture in the Philadelphia Museum of Art, Philadelphia: Philadelphia Museum of Art, 2000.


  • "'The Great Hidden Inspirer': Marcel Duchamp and the Queering of Surrealism, 1942-1946," in David Lomas and Joanna Pawlik, eds., Surrealism and Queer Sexualities, Manchester: Manchester University Press, 2012. (Publication forthcoming.)
  • "Reading Lautréamont in Virginia: Arshile Gorky's The Liver Is the Cock's Comb and the Claws of Maldoror," in Gavin Parkinson and Stephanie L. Taylor, eds., Surrealism and Nature, Aldershot, Hampshire: Ashgate, 2012. (Publication forthcoming.)
  • ""Passing My Ideas and Feelings through the Historical Prism of Another Work": Jeff Wall's The Destroyed Room and Marcel Duchamp's Étant donnés," in Hans de Wolf, ed., Jeff Wall: The Crooked Path, Brussels: Palais des Beaux Arts, 2011, pp. 46-47.
  • "Resisting Courbet's Retinal Revolution: Marcel Duchamp's Étant donnés and the   Erotic Legacy of Cubist Painting," in Stefan Banz, ed., Marcel Duchamp and the Forestay Waterfall, Zurich: JRP/Ringier, 2010, pp. 112-131.
  • "Consulting the Manual: Word and Image in Marcel Duchamp's Étant donnés," in Catriona MacLeod, Véronique Plesch, and Charlotte Schoell-Glass, eds., Elective Affinities: Testing Word and Image Relationships, Word & Image Interactions, Vol.6, Amsterdam: Rodopi, 2009, pp. 31-46.
  • "Learning from "Papa Cézanne": Arshile Gorky and the (Self-) Invention of the Modern Artist," in Joseph J. Rishel and Katherine Sachs, eds., Cézanne and Beyond, Philadelphia: Philadelphia Museum of Art, 2009, pp. 407-424.
  • "Bruce Nauman: Mapping the Studio, Changing the Field" in Carlos Basualdo, ed., Bruce Nauman: Topological Gardens, Philadelphia: Philadelphia Museum of Art, 2009, pp. 45-63.
  • "The Regenerative Legacy of Alfred Jarry's Ubu Roi" in Ingrid Schaffner and Carin Kuoni, eds., The Puppet Show, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2008, pp. 61-68.
  • "Duchamp in the Wilderness: Moonlight on the Bay at Basswood and the Landscape Backdrop of Étant donnés," Étant donné Marcel Duchamp, Paris, No.8, 2008, pp. 44-61.
  • "Eros Triumphant: Eroticism in the Post-Dada Work of Marcel Duchamp, Man Ray, and Francis Picabia" in Jennifer Mundy, ed., Duchamp, Man Ray, Picabia, London: Tate Publishing, 2008, pp. 156-175.
  • "Giraffes on Horseback Salad" in Matthew Gale, ed., Dalí and Film, London: Tate Publishing, 2007, pp. 140-153.
  • "Enigma Variations: Reconsidering the "Late" Work of Giorgio de Chirico and Philip Guston," in Michael R. Taylor and Lisa Melandri, eds., Enigma Variations: Philip Guston and Giorgio de Chirico, Santa Monica: Santa Monica Museum of Art, 2006, pp.16-37.
  • "New York Dada," in Leah Dickerman, ed., Dada: Zurich, Berlin, Köln, Hannover, New York, Paris, Washington, D.C.: National Gallery of Art, in conjunction with the Centre Georges Pompidou, Paris, and The Museum of Modern Art, New York, 2005, pp. 276-345.
  • "Blind Man's Bluff: Duchamp, Stieglitz, and the Fountain Scandal Revisited," in Mirrorical Returns: Marcel Duchamp and 20th Century Art, Osaka, Japan: The National Museum of Art, 2004, pp. 206-213.
  • "Rrose Sélavy, Prostituée de la Rue aux Lèvres: Levant le voile sur l'alter ego érotique de Marcel Duchamp," in Fémininmasculin, Paris: Musée national d'art moderne, Centre Georges Pompidou, 1995, pp. 284-290.


Hood Museum of Art

Last Updated: 10/10/12