Fountain (Duchamp)

4160: 286: 298: 22: 879: 752:(1996), after describing how various readymades are presented or displayed: "This decontextualization of the object's functional place draws attention to the creation of its artistic meaning by the choice of the setting and positioning ascribed to the object." He goes on to explain the importance of naming the object (ascribing a title). At least three factors came into play: the choice of object, the title, and how it was modified, if at all, from its 'normal' position or location. By virtue of placing a urinal on a pedestal in an art exhibition, the illusion of an artwork was created. 200: 271: 257: 228: 152: 452:, originally titled "le Bouddha de la salle de bain" (Buddha of the bathroom), represented a sitting Buddha. The motive invoked for its refusal at the Independents were that the entry was (1) immoral and vulgar, (2) it was plagiarism, a commercial piece of plumbing. R. Mutt responded, according to Apollinaire, that the work was not immoral since similar pieces could be seen every day exposed in plumbing and bath supply stores. On the second point, R. Mutt pointed out that the fact 7515: 574:

fixture, mounted on a pedestal, which he submitted as a 'work of art.' Some of the directors wanted it to remain, in view of the society's ruling of 'no jury' to decide on the merits of the 2500 paintings and sculptures submitted. Other directors maintained that it was indecent at a meeting and the majority voted it down. As a result of this Marcel Duchamp retired from the Board. Mr. Mutt now wants more than his dues returned. He wants damages."

511:, and whose address is partially discernible on the paper entry ticket in the Stieglitz photograph. On one hand, the fact that Duchamp wrote 'sent' not 'made', does not indicate that someone else created the work. Duchamp's female alter ego has been discredited as the inception of Rrose Sélavy occurred in the 1920s, years after the initial exhibition. Furthermore, there is no documentary or testimonial evidence that suggests von Freytag created 999: 852:] an image not shaped by the hands of an artist. Fountain brings us into contact with an original that is still an original but that also exists in an altered philosophical and metaphysical state. It is a manifestation of the Kantian sublime: A work of art that transcends a form but that is also intelligible, an object that strikes down an idea while allowing it to spring up stronger. 487:: "Une de mes amies sous un pseudonyme masculin, Richard Mutt, avait envoyé une pissotière en porcelaine comme sculpture" ("One of my female friends under a masculine pseudonym, Richard Mutt, sent in a porcelain urinal as a sculpture.") Duchamp never identified his female friend, but three candidates have been proposed: an early appearance of Duchamp's female alter ego 542:(mother), taking into consideration the geo-political climate at the time and the tension between Germany and the US. Glyn Thompson argues this was Loringhoven's attempt at political commentary. Thompson also disputes Duchamp's own claim (that he made in 1966 to Otto Hanh) of the urinal's origins coming from the 573:

A Philadelphian, Richard Mutt, member of the society, and not related to our friend of the "Mutt and Jeff" cartoons, submitted a bathroom fixture as a "work of art." The official record of the episode of its removal says: "Richard Mutt threatens to sue the directors because they removed the bathroom

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was simply placed behind a partition and, for the duration of the exhibition, I didn't know where it was. I couldn't say that I had sent the thing, but I think the organizers knew it through gossip. No one dared mention it. I had a falling out with them, and retired from the organization. After the

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They are considered to be an "homage to Duchamp's renowned readymade. By doing so, Levine is re-evaluating 3D objects within the realm of appropriation, like the readymades, to mass-produced photographic art. Adding to Duchamp's audacious move, Levine turns his gesture back into an "art object" by

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actively stages. On the one hand, there is the mirror-effect of the drawing and the etching, which although they are almost identical visually, involve an active switch from one artistic medium to the other. On the other hand, there is the internal mirrorical return of the image itself, since this

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plumbing retailer as Thompson discovered they could not have stocked this type of urinal. The only place it could be purchased at that time was in Philadelphia, where Loringhoven was residing at the time. Thompson uses this research to claim that the signature could not have been inspired by the

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Pop Art is a return to "conceptual" painting, virtually abandoned, except by the Surrealists, since Courbet, in favor of retinal painting... If you take a Campbell soup can and repeat it 50 times, you are not interested in the retinal image. What interests you is the concept that wants to put 50

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The artist is a not great creator—Duchamp went shopping at a plumbing store. The artwork is not a special object—it was mass-produced in a factory. The experience of art is not exciting and ennobling—at best it is puzzling and mostly leaves one with a sense of distaste. But over and above that,

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and other readymades were rediscovered, Duchamp became a cultural icon in the world of art, exemplified by a "deluge of publications", as Camfield noted, "an unparalleled example of timing in which the burgeoning interest in Duchamp coincided with exhilarating developments in avant-garde art,

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In a 1964 interview with Otto Hahn, Duchamp suggested he purposefully selected a urinal because it was disagreeable. The choice of a urinal, according to Duchamp, "sprang from the idea of making an experiment concerned with taste: choose the object which has the least chance of being liked. A

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case. The Tate, which denied that the duo had succeeded in urinating into the sculpture itself, banned them from the premises stating that they were threatening "works of art and our staff." When asked why they felt they had to add to Duchamp's work, Chai said, "The urinal is there – it's an

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Richter, however, years later claimed those words were not by Duchamp. Richter had sent Duchamp this paragraph for comment, writing: "You threw the bottle rack and the urinal into their face...," etc. Duchamp simply wrote: "Ok, ça va très bien" ("Ok, that works very well") in the margins.

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was not made by the hand of the artist was unimportant. The importance was in the choice made by the artist. The artist chose an object of every-day life, erased its usual significance by giving it a new title, and from this point of view, gave a new purely esthetic meaning to the object.

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No, not rejected. A work can't be rejected by the Independents. It was simply suppressed. I was on the jury, but I wasn't consulted, because the officials didn't know that it was I who had sent it in; I had written the name "Mutt" on it to avoid connection with the personal. The

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in New York. When explaining the purpose of his readymade sculpture, Duchamp stated they are "everyday objects raised to the dignity of a work of art by the artist's act of choice." In Duchamp's presentation, the urinal's orientation was altered from its usual positioning.

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changed the way people view art due to his focus upon "cerebral art" contrary to merely "retinal art", as this was a means to engage prospective audiences in a thought-provoking way as opposed to satisfying the aesthetic status quo "turning from classicism to modernity".

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was authorized by Duchamp in 1950 for an exhibition in New York; two more individual pieces followed in 1953 and 1963, and then an artist's multiple was manufactured in an edition of eight in 1964. These editions ended up in a number of important public collections;

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At the time Duchamp was a board member of the Society of Independent Artists. After much debate by the board members (most of whom did not know Duchamp had submitted it, as he had submitted the work 'under a pseudonym') about whether the piece was or was not art,

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urinal, like the one in 1917, has been rotated ninety degrees. This internal rotation disqualifies the object from its common use as a receptacle, and reactivates its poetic potential as a fountain; that is, as a machine for waterworks. The "splash" generated by

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Arensberg had referred to a 'lovely form' and it does not take much stretching of the imagination to see in the upside-down urinal's gently flowing curves the veiled head of a classic Renaissance Madonna or a seated Buddha or, perhaps more to the point, one of

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while it was exhibited in the MoMA in 1993. He admitted that it was only a technical triumph because he needed to urinate in a tube in advance so he could convey the fluid through a gap between the protective glass. Swedish artist Björn Kjelltoft urinated in

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In defense of the work being art, the piece continues, "The only works of art America has given are her plumbing and her bridges." Duchamp described his intent with the piece was to shift the focus of art from physical craft to intellectual interpretation.

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Whether Mr Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that

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magazine referred to him as "perhaps the world's most eminent Dadaist", Dada's "spiritual leader", "Dada's Daddy" in a lengthy article published 28 April 1952. By the mid-50s his readymades were present in permanent collections of American museums.

741:(2000) suspects that the Stieglitz photograph is a composite of different photos, while other scholars such as William Camfield have never been able to match the urinal shown in the photo to any urinals found in the catalogues of the time period. 342:

which appeared at the time, and with which everyone was familiar. Thus, from the start, there was an interplay of Mutt: a fat little funny man, and Jeff: a tall thin man... I wanted any old name. And I added Richard . That's not a bad name for a

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Duchamp adamantly asserted that he wanted to "de-deify" the artist. The readymades provide a way around inflexible either-or aesthetic propositions. They represent a Copernican shift in art. Fountain is what's called an "acheropoietoi,"

332:, 118 Fifth Avenue. The artist brought the urinal to his studio at 33 West 67th Street, reoriented it 90 degrees from its originally intended position of use, and wrote on it, "R. Mutt 1917". Duchamp elaborated: 406:. An editorial, possibly written by Wood, accompanying the photograph, entitled "The Richard Mutt Case", made a claim that would prove to be important concerning certain works of art that would come after it: 2440: 1128:. In Neo-Dada they have taken my readymades and found aesthetic beauty in them, I threw the bottle rack and the urinal into their faces as a challenge and now they admire them for their aesthetic beauty. 791:

virtually all of which exhibited links of some sort to Duchamp". His art was transformed from "a minor, aberrant phenomenon in the history of modern art to the most dynamic force in contemporary art".

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To achieve an orientation resembling the photograph, an additional rotation by 180° about a vertical axis is necessary. The effect of both may be achieved by a rotation of 180° about an inclined axis.

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in 2014: "When he decided that anything could be art he got a urinal and brought it into an art gallery... I find it quite arrogant, that idea of just pointing at something and saying 'That's art.'"

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Gaffney, Peter D, "Demiurgic machines: The mechanics of New York Dada. A study of the machine art of Francis Picabia, Marcel Duchamp, and other members of New York Dada during the period, 1912–1922"

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was not rejected by the committee, since Society rules stated that all works would be accepted from artists who paid the fee, but the work was never placed in the show area. Following that removal,

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that Marcel Duchamp himself would have appreciated. In 1993 Pinoncelli urinated into the piece while it was on display in Nimes, in southern France. Both of Pinoncelli's performances derive from

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in the December 1916 issue. Hubregtse notes that Duchamp's urinal may have been a clever response to Coady's comparison of Crotti's sculpture with "the absolute expression of a—plumber."

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as a readymade because it parodied Robert J. Coady's exaltation of industrial machines as pure forms of American art. Coady, who championed his call for American art in his publication

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is perhaps the best known because the symbolic meaning of the toilet takes the conceptual challenge posed by the readymades to their most visceral extreme. Similarly, philosopher

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This Neo-Dada, which they call New Realism, Pop Art, Assemblage, etc., is an easy way out, and lives on what Dada did. When I discovered the ready-mades I sought to discourage

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The meaning (if any) and intention of both the piece and the signature "R. Mutt", are difficult to pin down precisely. It is not clear whether Duchamp had in mind the German

117:. Sixteen replicas were commissioned from Duchamp in the 1950s and 1960s and made to his approval. Some have suggested that the original work was by the female artist 1033:

elevating its materiality and finish. As a feminist artist, Levine remakes works specifically by male artists who commandeered patriarchal dominance in art history."

483:, but rather assisted in submitting the piece to the Society of Independent Artists for a female friend. In a letter dated 11 April 1917 Duchamp wrote to his sister 866: 199: 2429: 1989:"Fountain", wrote the committee, "may be a very useful object in its place, but its place is not an art exhibition, and it is by no definition, a work of art." 336:

Mutt comes from Mott Works, the name of a large sanitary equipment manufacturer. But Mott was too close so I altered it to Mutt, after the daily cartoon strip

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The urinal suspended in Marcel Duchamp's studio at 33 West 67th Street, New York, 1917–1918. Two other readymades by Duchamp are visible in the photograph:

558:, the best guess is that it was thrown out as rubbish by Stieglitz, a common fate of Duchamp's early readymades. However, the myth goes that the original 6273: 3034:

Revue Internationale du Droit d'Auteur, Issues 197–198, Association française pour la diffusion du droit d'auteur national et international, 2003, p. 30.

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In placing the urinal horizontally it appears more passive, and feminine, while remaining a receptacle designed for the functioning of the male penis.

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was voted the most influential artwork of the 20th century by 500 selected British art world professionals. Second place was afforded to Picasso's

515:. However, despite a lack of documentary evidence, it has been proven that von Freytag had been experimenting with the concept of bodily fluids as 4159: 4075: 2362: 3044: 2917: 773:

Structured as an emblem, the visual and linguistic elements set up a punning interplay that helps us to explore further the mechanisms that

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Duchamp did not select just any ready-made object to display. In selecting the urinal, his message was clear: Art is something you piss on.

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Fine Art in 2016. "Bidlo's version is a lovingly handcrafted porcelain copy that he then smashed, reconstituted, and cast in bronze."

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For a recent analysis of the reception of this story, see Krajewski, Michael: "Beuys. Duchamp: Two Stories. Two Artist Legends." In:

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signed "R. Mutt". In April 1917, an ordinary piece of plumbing chosen by Duchamp was submitted for the inaugural exhibition of the

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Unsigned review, "His Art Too Crude for Independents", The New York Herald, 14 April 1917 (cited in Camfield, 1989, op.cit., 27)

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argued that Duchamp, who was quite familiar with the history of European art, was obviously making a provocative statement with

423:: "The "Urinal" photograph is really quite a wonder—Everyone who has seen it thinks it beautiful—And it's true—it is. It has an 7131: 4035: 2865: 2723: 2668: 1678: 717:(making the urinal perhaps the first work of art based on a comic). Duchamp said the R stood for Richard, French slang for " 285: 1285: 1237: 297: 3305: 3212: 2528: 1596: 534:

Further arguments against Duchamp as author have included that the R. Mutt, signature makes more sense as a German pun on

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Since the photograph taken by Stieglitz is the only image of the original sculpture, there are some interpretations of

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did not appear at the show, those who had expected to see it were disappointed. But the painting likely never existed.

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Several performance artists have attempted to contribute to the piece by urinating in it. South African born artist

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who had submitted it to Duchamp as a friend, but art historians maintain that Duchamp was solely responsible for

21: 2128: 1743:, G – Reference, Information and Interdisciplinary Subjects Series, University of Minnesota Press, 2009, p. 27, 1080:, Francis M. Naumann Fine Art opened "Marcel Duchamp Fountain: An Homage" on April 10, 2017. The show included 7542: 7280: 7273: 7095: 4115: 3900: 3886: 3380: 2794: 2738: 2253: 1783: 1748: 1726: 1646: 1520: 1491: 602: 76: 40: 6872: 1673:

Magdalena Holzhey, Katharina Neuburger, Kornelia Röder, eds., Krefelder Kunstmuseen, Berlin 2021, p. 337-345,

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continued for weeks following the exhibition submission. An article was published in Boston on 25 April 1917:

531:. The piece had been attributed to Schamberg until the Philadelphia Museum of Art adjusted the accreditation. 3728:"Robert J. Coady's The Soil and Marcel Duchamp's Fountain: Taste, Nationalism, Capitalism, and New York Dada" 3352: 2078:"Robert J. Coady's The Soil and Marcel Duchamp's Fountain: Taste, Nationalism, Capitalism, and New York Dada" 2077: 1251: 952:

invitation. As Duchamp said himself, it's the artist's choice. He chooses what is art. We just added to it."

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Duchamp drew an ink copy of the 1917 Stieglitz photograph in 1964 for the cover of an exhibition catalogue,

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and "severed forever the traditional link between the artist's labour and the merit of the work".

345: 7573: 7380: 7266: 6449: 6345: 4984: 4290: 3976: 614: 403: 310: 249: 2479: 2162: 2156: 1874: 7757: 7507: 7464: 7315: 6393: 5674: 5106: 5010: 4907: 4254: 3502: 3162: 2990: 2964:(referred to on the website of the Humanities Advanced Technology & Information Institute, 2216: 1946:"Fountain (After Duchamp: 1-6) La Fortune (After Duchamp: 1-6) La Fortune (After Man Ray: 1-6)" 1448: 1230: 1182:

1953: "Selected for sale at auction to benefit a friend of Duchamp" in Paris. Location unknown.

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which was on display. However, they were prevented from soiling the sculpture directly by its

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and then in porcelain, for his multiple editions of a miniature museum 'retrospective' titled

7833: 7720: 7443: 7366: 6663: 5556: 5395: 4816: 4740: 4537: 3919: 3616: 3280: 2965: 1536: 1117: 878: 543: 499:(a Dada poet and a close friend of Duchamp, later married to the avant-garde French composer 445: 329: 217:) (1917). This photograph is reproduced at the top right of one of the plates from Duchamp's 6600: 4083: 3429:, in Pontus Hulten, ed., Marcel Duchamp, Cambridge, MIT Press, 1993, entry for May 17, 1964. 1349: 132: 7777: 7581: 7500: 7287: 7143: 6003: 4357: 4264: 2363:"Elsa von Freytag-Loringhoven, the Dada Baroness Who Invented the Readymade—before Duchamp" 2055: 1089: 80: 7695: 6586: 6038: 2453:

Franklin Clarkin, "Two Miles of Funny Pictures," Boston Evening Transcript, 25 April 1917.

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Marcel Duchamp arrived in the United States less than two years prior to the creation of

6369: 5633: 3237:"Mike Bidlo: Not Duchamp Fountain and Bottle Rack | Francis M. Naumann Fine Art | Artsy" 2595: 2205:, edited by Rudolf E. Kuenzli (New York: Willis Locker & Owens, 1986), pages 81–101. 1702: 7518: 7329: 7224: 7181: 7107: 7023: 6698: 6656: 6254: 5989: 5807: 5346: 5332: 5227: 5082: 5058: 4942: 4528: 4283: 4027: 3749: 3523: 3113: 2806: 2099: 1965: 1561: 1362: 980: 7047: 6955: 6809: 3686: 3009: 2619: 596:

which were replicas of some of his most prominent work. The first 1:1 reproduction of

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or 'box in a suitcase', 1935–66. Duchamp carried many of these miniature works within

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was hidden from view during the show. Duchamp resigned from the Board, and "withdrew"

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Eljer Co. Highest Quality Two-Fired Vitreous China Catalogue 1918 Bedfordshire No. 700

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rose to international notoriety in 1993 when, at a show in Venice, he urinated into

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by looking not only at reproductions but this particular photograph. Tomkins notes:

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Quoted in Hubregtse, "Robert J. Coady's The Soil and Marcel Duchamp's Fountain," 32

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The Recurrent, Haunting Ghost: Essays on the Art, Life and Legacy of Marcel Duchamp

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In early 1917, rumors spread that Duchamp was working on a Cubist painting titled

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From the 1950s, Duchamp's influence on American artists had grown exponentially.

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Dada's Daddy, A new tribute is paid to Duchamp, pioneer on nonsense and nihilism

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Challenge and Defy: Extreme Examples by XX Century Artists, French and American

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in 1999 for $ 1.76 million, a record-high price at the time for a Duchamp work.

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name of J. L. Mott because Duchamp could not have purchased the urinal there.

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Catalogue of the First Annual Exhibition of the Society of Independent Artists

1597:"When will the art world recognise the real artist behind Duchamp's Fountain?" 987: 825:

noted in a February 2008 article that with this single work, Duchamp invented

718: 683:'s work, Tim Martin has argued there were strong sexual connotations with the 419:

In a letter dated 23 April 1917, Stieglitz wrote of the photograph he took of

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in protest. For this reason the work was "suppressed" (Duchamp's expression).

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Explaining Postmodernism: Skepticism and Socialism from Rousseau to Foucault

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Marcel Duchamp's Fountain, Its History and Aesthetics in the Context of 1917

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In Montparnasse: The Emergence of Surrealism in Paris, from Duchamp to Dali

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Remaking the Readymade: Duchamp, Man Ray, and the Conundrum of the Replica

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urinal—very few people think there is anything wonderful about a urinal."

7745: 7665: 7457: 7338: 7197: 7188: 7004: 6927: 5975: 5940: 5856: 5849: 5591: 5493: 5381: 5311: 5248: 5125: 4991: 4851: 4809: 4761: 4698: 4677: 4670: 4642: 4558: 4501: 4341: 4059: 3481: 3306:"Marcel Duchamp FOUNTAIN An Homage | Francis M. Naumann Fine Art | Artsy" 2529:"MoMA.org | Interactives | Exhibitions | 1999 | Museum as Muse | Duchamp" 1294: 1213: 1051: 926: 832: 810: 729: 618: 469: 110: 3753: 3117: 3093: 2103: 1969: 1945: 349:. Get it? The opposite of poverty. But not even that much, just R. MUTT. 7387: 6941: 6712: 6635: 6614: 6502: 6170: 6156: 5905: 5891: 5828: 5751: 5640: 5507: 5444: 5304: 5134: 4935: 4893: 4830: 4487: 4107: 3874:, revised and expanded edition, New York 1997, no. 345, pp. 648–50 1125: 1058: 3893:

Marcel Duchamp's Notes from the Large Glass: An N-Dimensional Analysis

3744: 3727: 3717: 2406: 2094: 1189:

for an exhibition in Stockholm. Signed by Duchamp in 1964. Donated to

1140:

in 1964, though indifferent to the humor or materials of Pop artists:

782:

is thus tied to its "mirrorical return", like the faucet in the title.

7436: 7394: 7259: 6969: 6059: 5814: 5681: 5402: 5353: 5318: 4879: 4306: 3858:"He was just taking the piss: Observations on Duchamp and his urinal" 3109: 2190:

Affectionately, Marcel: The Selected Correspondence of Marcel Duchamp

1961: 1269:

Schwarz's: Bought by an unnamed collector in 2002 for $ 1.08 million.

1186: 1097: 902: 376:

again, behind a partition, and I retrieved it! (Marcel Duchamp, 1971)

69: 2661:

Poop Culture: How America is Shaped by its Grossest National Product

562:

was in fact not thrown out but returned to Richard Mutt by Duchamp.

7527: 5283: 5150: 4508: 4469: 4453: 4439: 4330: 4206: 3427:

Ephemerides on and about Marcel Duchamp and Rrose Sélavy, 1887–1968

2744:, Tout-fait, Vol. 2, Issue 5, April 2003, Succession Marcel Duchamp 1842:, Literary digest. New York: Current Literature Pub. Co., 1913–1925 976: 943:, went to the newly opened Tate Modern and tried to urinate on the 680: 527:(1917), which maintains a similar message and aesthetic to that of 424: 176: 328:, Duchamp purchased a standard Bedfordshire model urinal from the 7035: 6080: 5542: 5157: 4446: 4430: 4416: 3968: 2770:, Paris, No. 684, 23 July 1964, p. 22. Quoted in Arturo Schwarz, 1576:"Duchamp and the pissoir-taking sexual politics of the art world" 1137: 998: 702: 168: 1656: 4364: 3577:. Independent Administrative Institution National Museum of Art 3094:"Fountain (After Duchamp: 1-6) La Fortune (After Man Ray: 1-6)" 2757:, Harry N. Abrams, Whitney Museum of American Art, 1997, p. 20. 1040: 931: 2991:"Pierre Pinoncelli: This man is not an artist" at infoshop.org 1705:(2006). Dissertations are available from ProQuest. AAI3211072. 1164:

magazine. Two of them, including the 1917 original, are lost.

1046:

In 2003 Saul Melman constructed a massively enlarged version,

2201:

Robert Reiss, "My Baroness: Elsa von Freytag-Loringhoven" in

955:

On January 4, 2006, while on display in the Dada show in the

726: 4275: 3598:. Indiana University, Sidney and Lois Eskenazi Museum of Art 1869:, Dada/Surrealism 16 (1987): 149–167, Iowa Research Online, 687:, linked to it being placed horizontally. He goes onto say: 240:. The article included a photo of the piece and a letter by 109:

The work is regarded by art historians and theorists of the

4837: 4371: 4211: 3964:

Duchamp and the Fountain, November, December, galley 4/9/15

97: 3372:

Dada and After: Extremist Modernism and English Literature

1740:

The Dada Cyborg: Visions of the New Human in Weimar Berlin

2837:"The loo that shook the world: Duchamp, Man Ray, Picabia" 2596:"An Overview of the Seventeen Known Versions of Fountain" 2430:"The practical joke that launched an artistic revolution" 1562:"An Overview of the Seventeen Known Versions of Fountain" 848: 3895:, Ann Arbor, Michigan: UMI Research Press, 1983, 29–39, 1136:

Contrary to Richter's quote, Duchamp wrote favorably of

3790: 3773:

Gardner's Art Through the Ages: The Western Perspective

3261:"Marcel Duchamp, Fountain: An Homage « ARTEIDOLIA" 1401: 1399: 3793:

Marcel Duchamp: The Bachelor Stripped Bare A Biography

3425:, cited in Jennifer Gough-Cooper and Jacques Caumont, 3281:""Fountain: An Homage" at Francis M. Naumann Fine Art" 1719:, Volume 21 of Clarendon studies in the history of art 1515:, University of California Press, 1998, pp. 124, 133, 1078:

First Exhibition of the Society of Independent Artists

519:

in her practice, even collaborating with photographer

474:

Portrait of Marcel Duchamp (Sculpture Made to Measure)

291:

Portrait of Marcel Duchamp (Sculpture made to measure)

175:(amongst others) in the creation of an anti-rational, 3909:, The New York 57th Street Journal, 25 September 1950 3841:"The Richard Mutt case: Looking for Marcel Duchamp's 2245:

Grand Illusions: American Art and the First World War

1171:

1950: Signed by Duchamp at the request of art dealer

925:, two performance artists, who in 1999 had jumped on 3357:

Tout-fait: The Marcel Duchamp Studies Online Journal

2686: 1641:. Houston, TX: Houston Fine Art Press. p. 183. 1396: 1043:

with the text: "The Artist is a Fountain", in 2002.

460:

Menno Hubregtse argues that Duchamp may have chosen

390:

which included a photo of the piece and a letter by

6274:

A Sunday Afternoon on the Island of La Grande Jatte

3795:. Minneapolis: MFA Publications: MFA Publications. 3188:"Approach of Burning Man sparks an outbreak of art" 2407:"The Jackdaw – Marcel Duchamp's Fountain… he lied!" 2268:(New York: Harry N. Abrams, 1994), p. 239, note 17. 2158:

Baroness Elsa: Gender, Dada, and Everyday Modernity

1899: 1897: 1895: 1158:have been created, according to a list compiled by 1076:Exactly 100 years to the day of the opening of the 679:Expanding upon the erotic interpretation linked to 3923:, Tout-Fait: Marcel Duchamp Studies Online journal 3838: 3719:Baroness Elsa: Gender, Dada and Everyday Modernity 2907: 2428: 1840:Current opinion, Vol. LX, No. 6, June 1916, p. 431 1116:In 1961, Duchamp wrote a letter to fellow Dadaist 3847:. Art Science Research Laboratory. Archived from 2131:. Jean Crotti papers, 1913–1973, bulk 1913–1961. 1385: 1383: 43:exhibit, with entry tag visible. The backdrop is 7800: 3881:, Issue 16 of Dada surrealism, MIT Press, 1991, 3769: 3725: 3503:"'Fountain', Marcel Duchamp, 1917, replica 1964" 3139:"Fountain (Buddha) - Sherrie Levine | The Broad" 3091: 2217:"'Fountain', Marcel Duchamp, 1917, replica 1964" 2075: 1943: 1892: 578:Duchamp began making miniature reproductions of 380:The New York Dadaists stirred controversy about 3809: 3694: 2741:Glasswanderers, If that’s art, I’m a Hottentott 2718:. University of Pittsburgh Press. p. 223. 2505:"Boîte-en-valise [The box in a valise]" 2426: 1859: 1857: 1483:The Duchamp Book: Tate Essential Artists Series 4076:The Bride Stripped Bare by Her Bachelors, Even 3760: 2830: 2828: 2051: 2049: 2047: 2045: 1795:Dagen, Philippe, "Duchamp piège l'avant-garde" 1717:Marcel Duchamp and Max Ernst: The Bride Shared 1380: 1067:Fractured Fountain (Not Duchamp Fountain 1917) 1020:created bronze copies in 1991 and 1996 titled 384:and its being rejected in the second issue of 7543: 4291: 3984: 3375:, Manchester University Press, 1983, p. 202, 3092:Levine and Halle, Sherrie and Howard (1992). 2716:A Journey through Philosophy in 101 Anecdotes 2658: 2151: 1944:Levine and Halle, Sherrie and Howard (1992). 7206: 7195: 4396: 4385: 4339: 4328: 3561:Contemporary Art & 14 Duchamp Readymades 3423:New York's Avant-garde, and How It Got There 3002: 2066:, Gallica, Bibliothèque Nationale de France. 1866:Duchamp's Eroticism: A Mathematical Analysis 1854: 1821: 1819: 1817: 1815: 1813: 1811: 1809: 1807: 1532: 1530: 1528: 1226:4/8: Bought by an unnamed collector in 2002. 764: 757:Marcel Duchamp: Ready-mades, etc., 1913–1964 736: 735:Rhonda Roland Shearer in the online journal 706: 696: 4467: 3213:"Mike Bidlo at Francis M. Naumann Fine Art" 3210: 2825: 2693:. Tempe, AZ: Scholargy Press. p. 196. 2553:"From or by Marcel Duchamp or Rrose Sélavy" 2042: 1671:Beuys & Duchamp. Artists of the Future. 1632: 1630: 1628: 1626: 1624: 1476: 1474: 1039:created an edition of multicolored ceramic 7550: 7536: 4298: 4284: 3991: 3977: 3817:. New York, N.Y.: Henry Holt and Company. 3732:Revue d'art canadienne/Canadian Art Review 2509:Item held by National Gallery of Australia 2082:Revue d'art canadienne/Canadian Art Review 1505: 1503: 1501: 1499: 1301:from Warhol's estate for $ 65,750 in 1988. 1175:for a gallery exhibition. Acquired by the 1149: 554:was lost. According to Duchamp biographer 316:According to one version, the creation of 96:'s studio, and the photo published in the 3877:Kuenzli, Rudolf E., Naumann, Francis M., 3743: 2905: 2419: 2147: 2145: 2143: 2141: 2093: 1804: 1753: 1556: 1554: 1525: 856:Others have questioned whether Duchamp's 479:Some have contested that Duchamp created 3346: 3344: 3342: 3340: 2682: 2680: 2390: 2238: 2236: 2129:Marcel Duchamp to Suzanne, 11 April 1917 2008:Cabanne, Pierre, & Duchamp, Marcel, 1636: 1621: 1594: 1471: 997: 877: 296: 284: 269: 255: 226: 198: 150: 20: 2834: 2713: 2469:, Dada/Surrealism 16 (1987): pp. 64–94. 1766: 1537:Cabanne, P., & Duchamp, M. (1971). 1496: 888:Scottish National Gallery of Modern Art 860:really could constitute a work of art. 721:", which according to one critic makes 7801: 3776:. Belmont, Calif.: Thomson Wadsworth. 2755:Making mischief: Dada invades New York 2637: 2574:. Bath: Dempsey Parr. pp. 42–47. 2569: 2301: 2138: 1551: 1453:, Marcel Duchamp, 1917, replica, 1964" 1443: 1441: 1439: 1437: 1435: 1433: 1431: 1429: 1427: 1405: 629:Of all the artworks in this series of 550:Shortly after its initial exhibition, 7531: 7132:Six Characters in Search of an Author 4279: 4036:Yvonne and Magdeleine Torn in Tatters 3972: 3879:Marcel Duchamp: Artist of the Century 3482:"Marcel Duchamp, Fountain, 1917/1964" 3350: 3337: 2855: 2677: 2386: 2384: 2382: 2360: 2233: 2184: 2182: 2161:. Cambridge: The MIT Press. pp. 2124: 2122: 905:declared he successfully urinated in 7557: 4184:8 × 8: A Chess Sonata in 8 Movements 3872:The Complete Works of Marcel Duchamp 3855: 3484:. San Francisco Museum of Modern Art 3185: 2835:Hensher, Philip (20 February 2008). 2772:The Complete Works of Marcel Duchamp 2663:. Los Angeles, Calif.: Feral House. 2427:Gayford, Martin (16 February 2008). 1691:The complete works of Marcel Duchamp 1238:National Museum of Modern Art, Kyoto 993: 183:cultural movement in New York City. 141:The complete works of Marcel Duchamp 2502: 1424: 1061:created a cracked "bronze redo" of 444:published an article attributed to 13: 6334:Nude Descending a Staircase, No. 2 4044:Nude Descending a Staircase, No. 2 3998: 3856:West, Patrick (13 December 2004). 3832: 3691:, Vol. 2, May 1917, New York City. 3334:, Life, 28 April 1952, pp. 100–111 3010:"Man held for hitting urinal work" 2882:"Kendell Geers- Conceptual Artist" 2807:"Duchamp's urinal tops art survey" 2395:. Pallas Athene. pp. 131–137. 2379: 2179: 2119: 1903:Saltz, Jerry (February 21, 2006), 1693:, New York, Delano Greenidge, 2000 1410:. Bath: Dempsey Parr. p. 42. 1207:San Francisco Museum of Modern Art 624: 607:San Francisco Museum of Modern Art 320:began when, accompanied by artist 263:, No. 2, New York, 1917, p. 6, by 236:, No. 2, New York, 1917, p. 5, by 131:is included in the Marcel Duchamp 14: 7860: 3913: 3722:. Cambridge, MA: MIT Press, 2002. 3399:, McGraw Hill, 1965: pp. 207–208. 2248:, Oxford University Press, 2016, 1512:Unpacking Duchamp: Art in Transit 1154:Seventeen authorized versions of 244:, and writings by Louise Norton, 7514: 7513: 4255:Raymond Duchamp-Villon (brother) 4158: 3791:Marquis, Alice Goldfarb (2002). 3664: 3643: 3630: 3609: 3588: 3567: 3211:Greenberger, Alex (2016-02-16). 2958:"Tate focus for artistic debate" 2906:Blacklock, Mark (26 June 2003). 2774:, New York, Abrams, 1970, p. 466 2443:from the original on 2022-01-12. 2279:"Marcel Duchamp as Rrose Sélavy" 2214: 1721:, Clarendon Press, 1998, p. 74, 1486:, Harry N. Abrams, 2008, p. 61, 873: 769:; 1964). Dalia Judovitz writes: 427:look about it—a cross between a 16:1917 sculpture by Marcel Duchamp 7849:Photographs by Alfred Stieglitz 4014:List of works by Marcel Duchamp 3552: 3537: 3516: 3495: 3474: 3453: 3432: 3415: 3402: 3385: 3363: 3322: 3298: 3273: 3253: 3229: 3204: 3179: 3155: 3131: 3085: 3061: 3037: 3028: 2984: 2950: 2932: 2920:from the original on 2022-01-12 2899: 2874: 2849: 2799: 2777: 2760: 2753:Francis M. Naumann, Beth Venn, 2747: 2732: 2707: 2651: 2631: 2613: 2588: 2563: 2545: 2521: 2496: 2472: 2456: 2447: 2399: 2354: 2330: 2295: 2271: 2258: 2208: 2195: 2110: 2069: 2029: 2016: 2001: 1992: 1983: 1937: 1924: 1879: 1845: 1833: 1788: 1731: 1708: 1696: 1683: 1663: 1314:List of works by Marcel Duchamp 1145:Campbell soup cans on a canvas. 786:During the 1950s and 1960s, as 503:), who contributed an essay to 468:, printed a scathing review of 39:art gallery following the 1917 7281:Grosvenor School of Modern Art 7274:Fourth dimension in literature 4116:Belle Haleine, Eau de Voilette 3761:Kamien-Kazhdan, Adina (2018). 3699:(in French). : Da Capo Press. 3653:. The Israel Museum, Jerusalem 3546:The Art Defying the Art Market 3410:Begegnungen von Dada bis Heute 2968:). 21 May 2000. Archived from 2766:Hahn, Otto, "Marcel Duchamp", 2314:10.7551/mitpress/1517.001.0001 1588: 1568: 1286:National Gallery of Modern Art 1202:Eight versions made for sale: 106:. The original has been lost. 77:Society of Independent Artists 41:Society of Independent Artists 1: 4305: 3186:Chun, Kimberly (2013-08-15). 2860:. Penguin Books. p. 46. 2687:Hicks, Stephen R. C. (2004). 2641:Not Objects so much as Images 2361:Thill, Vanessa (2018-09-18). 2010:Dialogues With Marcel Duchamp 1637:Camfield, William A. (1989). 1595:Hustvedt, Siri (2019-03-29). 1539:Dialogues with Marcel Duchamp 1374: 1293:Prototype version: Bought by 1252:Indiana University Art Museum 1168:1917: Original version, lost. 1120:in which he supposedly said: 748:Rudolf E. Kuenzli states, in 163:and had become involved with 7773:Readymades of Marcel Duchamp 4202:Readymades of Marcel Duchamp 4124:Why Not Sneeze, Rose Sélavy? 4092:Tulip Hysteria Co-ordinating 4068:In Advance of the Broken Arm 3526:. National Gallery of Canada 3442:. Philadelphia Museum of Art 3351:Girst, Thomas (April 2003). 2439:. London. p. 10 at 11. 1778:, Penguin UK, Jun 21, 2018, 1357:Tulip Hysteria Co-ordinating 1264:Musée National d'Art Moderne 1103: 1054:and subsequently burned it. 799:In December 2004, Duchamp's 493:Elsa von Freytag-Loringhoven 360:Tulip Hysteria Co-ordinating 206:In Advance of the Broken Arm 194:Tulip Hysteria Co-ordinating 189:Tulip Hysteria Co-ordinating 119:Elsa von Freytag-Loringhoven 7: 7374:List of avant-garde artists 6358:The Cabinet of Dr. Caligari 3951:Duchamp and the Ready-Mades 3839:Betacourt, Michael (2003). 3697:Dialogs with Marcel Duchamp 2939:Årets största konsthändelse 2039:, New York, 2012, pp. 70–81 1932:Dialogs with Marcel Duchamp 1307: 565:The reaction engendered by 521:Morton Livingston Schamberg 10: 7865: 7622:From the Back Window - 291 7232:Classical Hollywood cinema 4239:Portrait of Marcel Duchamp 3412:, Köln, DuMont: pp. 155ff. 3391:Duchamp, in Hans Richter, 2789:, MIT Press, 1996, p. 47, 2714:Rescher, Nicholas (2015). 1917:November 12, 2023, at the 1243:7/8: In the collection of 1221:National Gallery of Canada 1177:Philadelphia Museum of Art 929:'s installation-sculpture 611:National Gallery of Canada 7729: 7676: 7657: 7598:Spring Showers, the Coach 7565: 7495: 7173: 7014: 6882: 6722: 6478: 6467: 6310:Les Demoiselles d'Avignon 6264: 6090: 5650: 5133: 5124: 5001: 4785: 4527: 4518: 4313: 4194: 4167: 4156: 4020:Portrait of Dr. Dumouchel 4006: 3770:Kleiner, Fred S. (2006). 3765:. Routledge. p. 280. 3726:Hubregtse, Menno (2009). 3695:Cabanne, Pierre (1979) . 2391:Spalding, Julian (2023). 2135:, Smithsonian Institution 2076:Hubregtse, Menno (2009). 1801:, 17 August 2006 (French) 1262:Duchamp's: Bought by the 1069:, which was exhibited at 923:Yuan Chai and Jian Jun Xi 806:Les Demoiselles d'Avignon 794: 675:'s polished erotic forms. 372:exhibition, we found the 146: 68:in 1917, consisting of a 7647:Georgia O'Keeffe - Hands 7639:Georgia O'Keeffe - Torso 5095:The Master and Margarita 4260:Suzanne Duchamp (sister) 4250:Jacques Villon (brother) 3680: 3045:"SHERRIE LEVINE: MAYHEM" 2786:Dada and Surrealist Film 2638:Funcke, Bettina (2013). 2133:Archives of American Art 1639:Marcel Duchamp, Fountain 1545:15 November 2017 at the 1198:Galleria Schwarz edition 750:Dada and Surrealist Film 654:The impact of Duchamp's 7839:Vandalized works of art 7809:Works by Marcel Duchamp 7574:The Last Joke, Bellagio 7381:List of modernist poets 7267:Fourth dimension in art 6450:Meshes of the Afternoon 3564:, The City Review, 2002 2996:4 December 2014 at the 2856:Perry, Grayson (2016). 2845:. London. pp. 2–5. 2600:www.cabinetmagazine.org 2557:Cleveland Museum of Art 2056:Guillaume Apollinaire, 1150:Editions and provenance 615:Centre Georges Pompidou 311:Cleveland Museum of Art 281:, No. 2, New York, 1917 113:as a major landmark in 7758:Nude photography (art) 7465:Second Viennese School 7207: 7196: 5107:The Sound and the Fury 5011:In Search of Lost Time 4468: 4397: 4386: 4340: 4329: 4245:Alexina Duchamp (wife) 3905:Sidney Janis Gallery, 3672:Remaking the Readymade 3638:Remaking the Readymade 3393:Dada: Art and Anti-Art 2858:Playing to the Gallery 2659:Praeger, Dave (2007). 2480:"A Museum That is Not" 2302:Gammel, Irene (2002). 2266:New York Dada, 1915–23 2058:Le Cas de Richard Mutt 1284:II/II: Donated to the 1231:Dimitris Daskalopoulos 1147: 1130: 1010: 918:in Stockholm in 1999. 890: 867:Playing to The Gallery 854: 784: 765: 737: 707: 697: 693: 677: 652: 576: 413: 378: 351: 313: 294: 282: 267: 253: 224: 156: 79:, to be staged at the 52: 31:, 1917, photograph by 7721:Clarence Hudson White 7444:Reactionary modernism 7367:List of art movements 2966:University of Glasgow 2572:Essential Surrealists 2463:William A. Camfield, 2035:Naumann, Francis M., 1830:, Vol. 2, 1917, p. 5. 1408:Essential Surrealists 1281:in Jerusalem in 1972. 1277:I/II: Donated to the 1274:Two museum versions: 1259:Two artist's proofs: 1142: 1122: 1096:, and a 2015 work by 1005:, a bronze remake by 1001: 881: 843: 771: 689: 668: 647: 571: 544:J. L. Mott Iron Works 446:Guillaume Apollinaire 408: 364: 334: 330:J. L. Mott Iron Works 305:appears in Duchamp's 300: 288: 273: 259: 230: 202: 154: 24: 7778:Straight photography 7582:Winter, Fifth Avenue 7288:Hanshinkan Modernism 7144:The Threepenny Opera 7060:Pelléas et Mélisande 4265:Marcel Duchamp Prize 3815:Duchamp: A Biography 3544:Francis M. Naumann, 3421:Rosalind Constable, 2570:Martin, Tim (1999). 2264:Francis M. Naumann, 2024:Duchamp: A Biography 1887:Duchamp: A Biography 1406:Martin, Tim (1999). 1391:Duchamp: A Biography 981:Viennese Actionists' 901:. Artist / musician 809:(1907) and third to 92:was photographed at 81:Grand Central Palace 7829:Modernist sculpture 7716:Katherine Stieglitz 7346:International Style 7096:Afternoon of a Faun 6382:Battleship Potemkin 6286:Mont Sainte-Victoir 3559:Carter B. Horsley, 3329:Winthrop Sargeant, 3069:"Fountain (Buddha)" 2972:on 21 December 2002 2944:17 May 2011 at the 2914:The Daily Telegraph 2784:Rudolf E. Kuenzli, 2436:The Daily Telegraph 1297:in 1973. Bought by 1236:6/8: Bought by the 1219:3/8: Bought by the 1205:1/8: Bought by the 1094:Alexander Kosolapov 289:Jean Crotti, 1915, 7658:Photography series 7225:Buddhist modernism 7182:American modernism 7108:The Rite of Spring 5083:The Sun Also Rises 5059:The Magic Mountain 4140:La Boîte-en-valise 4084:Apolinère Enameled 3936:2013-04-25 at the 2625:2004-10-12 at the 2559:. 31 October 2018. 1584:. 7 November 2014. 1350:Apolinère Enameled 1216:in London in 1999. 1071:Francis M. Naumann 1048:Johnny on the Spot 1022:Fountain (Madonna) 1011: 891: 603:Indiana University 582:in 1935, first in 394:, and writings by 324:and art collector 314: 295: 283: 268: 254: 225: 220:La Boîte-en-valise 157: 133:catalogue raisonné 53: 7844:1910s photographs 7796: 7795: 7788:291 (art gallery) 7711:Katharine Rhoades 7696:Gertrude Käsebier 7525: 7524: 7253:Experimental film 7169: 7168: 7156:Waiting for Godot 6463: 6462: 5120: 5119: 5023:The Metamorphosis 4273: 4272: 4132:Monte Carlo Bonds 3870:Schwarz, Arturo, 3745:10.7202/1069487ar 3619:. Centre Pompidou 2962:Press Association 2886:www.onepeople.com 2867:978-0-141-97961-8 2813:. 1 December 2004 2725:978-0-8229-8044-5 2670:978-1-932595-21-5 2620:Essay on Fountain 2503:Duchamp, Marcel. 2095:10.7202/1069487ar 2062:Mercure de France 1910:The Village Voice 1679:978-3-7757-5068-4 1481:Gavin Parkinson, 1369:Maurizio Cattelan 1344:Transgressive art 1266:in Paris in 1986. 1026:Fountain (Buddha) 1003:Fountain (Buddha) 994:Reinterpretations 965:Pierre Pinoncelli 838:The Village Voice 766:Renvoi miroirique 761:Mirrorical Return 441:Mercure de France 7856: 7706:Georgia O'Keeffe 7559:Alfred Stieglitz 7552: 7545: 7538: 7529: 7528: 7517: 7516: 7488: 7486:Vulgar modernism 7481: 7479:Underground film 7474: 7467: 7460: 7453: 7446: 7439: 7432: 7425: 7418: 7411: 7404: 7397: 7390: 7383: 7376: 7369: 7362: 7355: 7348: 7341: 7332: 7325: 7318: 7311: 7304: 7302:Hippie modernism 7297: 7290: 7283: 7276: 7269: 7262: 7255: 7248: 7241: 7234: 7227: 7220: 7218:Bloomsbury Group 7213: 7212: 7202: 7201: 7191: 7184: 7162: 7161: 7150: 7149: 7138: 7137: 7126: 7125: 7114: 7113: 7102: 7101: 7090: 7089: 7078: 7077: 7066: 7065: 7054: 7053: 7042: 7041: 7030: 7029: 7007: 7000: 6993: 6986: 6979: 6972: 6965: 6958: 6951: 6944: 6937: 6930: 6923: 6916: 6909: 6902: 6895: 6875: 6868: 6861: 6854: 6847: 6840: 6833: 6826: 6819: 6812: 6805: 6798: 6791: 6784: 6777: 6770: 6763: 6756: 6749: 6742: 6735: 6715: 6708: 6701: 6694: 6687: 6680: 6673: 6666: 6659: 6652: 6645: 6638: 6631: 6624: 6617: 6610: 6603: 6596: 6589: 6582: 6575: 6568: 6561: 6554: 6547: 6540: 6533: 6526: 6519: 6512: 6505: 6498: 6491: 6476: 6475: 6456: 6455: 6444: 6443: 6432: 6431: 6422: 6421: 6412: 6411: 6406:Un Chien Andalou 6400: 6399: 6388: 6387: 6376: 6375: 6370:Ballet Mécanique 6364: 6363: 6352: 6351: 6340: 6339: 6328: 6327: 6316: 6315: 6304: 6303: 6298:The Starry Night 6292: 6291: 6280: 6279: 6257: 6250: 6243: 6236: 6229: 6222: 6215: 6208: 6201: 6194: 6187: 6180: 6173: 6166: 6159: 6152: 6145: 6138: 6131: 6124: 6117: 6110: 6103: 6083: 6076: 6069: 6062: 6055: 6048: 6041: 6034: 6027: 6020: 6013: 6006: 5999: 5992: 5985: 5978: 5971: 5964: 5957: 5950: 5943: 5936: 5929: 5922: 5915: 5908: 5901: 5894: 5887: 5880: 5873: 5866: 5859: 5852: 5845: 5838: 5831: 5824: 5817: 5810: 5803: 5796: 5789: 5782: 5775: 5768: 5761: 5754: 5747: 5740: 5733: 5726: 5719: 5712: 5705: 5698: 5691: 5684: 5677: 5670: 5663: 5643: 5636: 5629: 5627:Toulouse-Lautrec 5622: 5615: 5608: 5601: 5594: 5587: 5580: 5573: 5566: 5559: 5552: 5545: 5538: 5531: 5524: 5517: 5510: 5503: 5496: 5489: 5482: 5475: 5468: 5461: 5454: 5447: 5440: 5433: 5426: 5419: 5412: 5405: 5398: 5391: 5384: 5377: 5370: 5363: 5356: 5349: 5342: 5335: 5328: 5321: 5314: 5307: 5300: 5293: 5286: 5279: 5272: 5265: 5258: 5251: 5244: 5237: 5230: 5223: 5216: 5209: 5202: 5195: 5188: 5181: 5174: 5167: 5160: 5153: 5146: 5131: 5130: 5113: 5112: 5101: 5100: 5089: 5088: 5077: 5076: 5065: 5064: 5053: 5052: 5041: 5040: 5029: 5028: 5017: 5016: 4994: 4987: 4980: 4973: 4966: 4959: 4952: 4945: 4938: 4931: 4924: 4917: 4910: 4903: 4896: 4889: 4882: 4875: 4868: 4861: 4854: 4847: 4840: 4833: 4826: 4819: 4812: 4805: 4798: 4778: 4771: 4764: 4757: 4750: 4743: 4736: 4729: 4722: 4715: 4708: 4701: 4694: 4687: 4680: 4673: 4666: 4659: 4652: 4645: 4638: 4631: 4624: 4617: 4610: 4603: 4596: 4589: 4582: 4575: 4568: 4561: 4554: 4547: 4540: 4525: 4524: 4511: 4504: 4497: 4490: 4483: 4474: 4473: 4463: 4456: 4449: 4442: 4433: 4426: 4419: 4410: 4403: 4402: 4392: 4391: 4388:Der Blaue Reiter 4381: 4374: 4367: 4360: 4353: 4346: 4345: 4335: 4334: 4324: 4300: 4293: 4286: 4277: 4276: 4232:Fountain Archive 4162: 3993: 3986: 3979: 3970: 3969: 3867: 3852: 3851:on 1 March 2006. 3828: 3806: 3787: 3766: 3757: 3747: 3710: 3675: 3670:Kamien-Kazhdan, 3668: 3662: 3661: 3659: 3658: 3647: 3641: 3636:Kamien-Kazhdan, 3634: 3628: 3627: 3625: 3624: 3613: 3607: 3606: 3604: 3603: 3592: 3586: 3585: 3583: 3582: 3571: 3565: 3556: 3550: 3541: 3535: 3534: 3532: 3531: 3520: 3514: 3513: 3511: 3510: 3499: 3493: 3492: 3490: 3489: 3478: 3472: 3471: 3469: 3468: 3463:. Moderna Museet 3457: 3451: 3450: 3448: 3447: 3436: 3430: 3419: 3413: 3406: 3400: 3389: 3383: 3367: 3361: 3360: 3348: 3335: 3326: 3320: 3319: 3317: 3316: 3302: 3296: 3295: 3293: 3292: 3277: 3271: 3270: 3268: 3267: 3257: 3251: 3250: 3248: 3247: 3233: 3227: 3226: 3224: 3223: 3208: 3202: 3201: 3199: 3198: 3183: 3177: 3176: 3174: 3173: 3159: 3153: 3152: 3150: 3149: 3143:www.thebroad.org 3135: 3129: 3128: 3126: 3124: 3110:10.2307/25007559 3089: 3083: 3082: 3080: 3079: 3065: 3059: 3058: 3056: 3055: 3041: 3035: 3032: 3026: 3025: 3023: 3021: 3016:. 6 January 2006 3006: 3000: 2988: 2982: 2981: 2979: 2977: 2954: 2948: 2936: 2930: 2929: 2927: 2925: 2911: 2903: 2897: 2896: 2894: 2892: 2878: 2872: 2871: 2853: 2847: 2846: 2832: 2823: 2822: 2820: 2818: 2803: 2797: 2781: 2775: 2764: 2758: 2751: 2745: 2736: 2730: 2729: 2711: 2705: 2704: 2684: 2675: 2674: 2655: 2649: 2648: 2646: 2635: 2629: 2617: 2611: 2610: 2608: 2607: 2592: 2586: 2585: 2567: 2561: 2560: 2549: 2543: 2542: 2540: 2539: 2525: 2519: 2518: 2516: 2515: 2500: 2494: 2493: 2491: 2490: 2476: 2470: 2460: 2454: 2451: 2445: 2444: 2432: 2423: 2417: 2416: 2414: 2413: 2403: 2397: 2396: 2388: 2377: 2376: 2374: 2373: 2358: 2352: 2351: 2349: 2348: 2334: 2328: 2327: 2299: 2293: 2292: 2290: 2289: 2275: 2269: 2262: 2256: 2243:David M. Lubin, 2240: 2231: 2230: 2228: 2227: 2212: 2206: 2199: 2193: 2188:Marcel Duchamp, 2186: 2177: 2176: 2149: 2136: 2126: 2117: 2114: 2108: 2107: 2097: 2073: 2067: 2053: 2040: 2033: 2027: 2020: 2014: 2005: 1999: 1996: 1990: 1987: 1981: 1980: 1978: 1976: 1962:10.2307/25007559 1941: 1935: 1928: 1922: 1901: 1890: 1883: 1877: 1861: 1852: 1849: 1843: 1837: 1831: 1823: 1802: 1792: 1786: 1770: 1764: 1757: 1751: 1735: 1729: 1715:Hopkins, David, 1712: 1706: 1700: 1694: 1689:Arturo Schwarz, 1687: 1681: 1667: 1661: 1660: 1634: 1619: 1618: 1616: 1615: 1592: 1586: 1585: 1572: 1566: 1565: 1558: 1549: 1534: 1523: 1510:Dalia Judovitz, 1507: 1494: 1478: 1469: 1468: 1466: 1464: 1445: 1422: 1421: 1403: 1394: 1387: 1339:Art intervention 1325:Fountain Archive 1288:in Rome in 1997. 963:was attacked by 921:In spring 2000, 768: 740: 710: 705:"), or possibly 700: 392:Alfred Stieglitz 326:Walter Arensberg 250:Walter Arensberg 242:Alfred Stieglitz 125:s presentation. 115:20th-century art 94:Alfred Stieglitz 33:Alfred Stieglitz 7864: 7863: 7859: 7858: 7857: 7855: 7854: 7853: 7824:Lost sculptures 7814:1917 sculptures 7799: 7798: 7797: 7792: 7783:The Linked Ring 7763:Photo-Secession 7725: 7678: 7672: 7653: 7606:The Hand of Man 7561: 7556: 7526: 7521: 7512: 7504: 7491: 7484: 7477: 7472:Structural film 7470: 7463: 7456: 7449: 7442: 7435: 7428: 7423:New Objectivity 7421: 7414: 7409:Neo-romanticism 7407: 7402:Neo-primitivism 7400: 7393: 7386: 7379: 7372: 7365: 7358: 7351: 7344: 7337: 7328: 7321: 7314: 7307: 7300: 7293: 7286: 7279: 7272: 7265: 7258: 7251: 7244: 7237: 7230: 7223: 7216: 7205: 7194: 7187: 7180: 7165: 7159: 7153: 7147: 7141: 7135: 7129: 7123: 7117: 7111: 7105: 7099: 7093: 7087: 7081: 7075: 7069: 7063: 7057: 7051: 7048:Verklärte Nacht 7045: 7039: 7033: 7027: 7021: 7010: 7003: 6996: 6989: 6982: 6975: 6968: 6961: 6954: 6947: 6940: 6933: 6926: 6919: 6912: 6905: 6898: 6891: 6878: 6871: 6864: 6857: 6850: 6843: 6836: 6829: 6822: 6815: 6808: 6801: 6794: 6787: 6780: 6773: 6766: 6759: 6752: 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4639: 4632: 4625: 4618: 4611: 4604: 4597: 4590: 4583: 4576: 4569: 4562: 4555: 4548: 4541: 4533: 4531: 4522: 4516: 4515: 4513: 4512: 4505: 4498: 4491: 4484: 4477: 4476: 4475: 4457: 4450: 4443: 4436: 4435: 4434: 4420: 4413: 4412: 4411: 4404: 4393: 4375: 4368: 4361: 4358:Constructivism 4354: 4347: 4336: 4325: 4317: 4315: 4311: 4310: 4303: 4302: 4295: 4288: 4280: 4271: 4270: 4268: 4267: 4262: 4257: 4252: 4247: 4242: 4235: 4228: 4221: 4216: 4215: 4214: 4209: 4198: 4196: 4192: 4191: 4189: 4188: 4180: 4171: 4169: 4165: 4164: 4157: 4155: 4153: 4152: 4144: 4136: 4128: 4120: 4112: 4104: 4096: 4088: 4080: 4072: 4064: 4056: 4048: 4040: 4032: 4024: 4016: 4010: 4008: 4004: 4003: 4000:Marcel Duchamp 3996: 3995: 3988: 3981: 3973: 3967: 3966: 3961: 3948: 3925: 3915: 3914:External links 3912: 3911: 3910: 3903: 3889: 3875: 3868: 3853: 3834: 3831: 3830: 3829: 3823: 3807: 3801: 3788: 3782: 3767: 3758: 3723: 3711: 3705: 3692: 3682: 3679: 3677: 3676: 3663: 3642: 3629: 3608: 3587: 3566: 3551: 3536: 3515: 3494: 3473: 3452: 3431: 3414: 3408:Hans Richter, 3401: 3384: 3362: 3336: 3321: 3297: 3272: 3252: 3228: 3203: 3178: 3154: 3130: 3084: 3060: 3036: 3027: 3001: 2983: 2949: 2931: 2898: 2873: 2866: 2848: 2824: 2798: 2776: 2759: 2746: 2731: 2724: 2706: 2699: 2676: 2669: 2650: 2647:. p. 279. 2630: 2612: 2587: 2580: 2562: 2544: 2520: 2495: 2484:www.e-flux.com 2471: 2455: 2446: 2418: 2398: 2378: 2353: 2329: 2322: 2294: 2270: 2257: 2232: 2207: 2194: 2178: 2171: 2137: 2118: 2109: 2068: 2064:, 16 June 1918 2041: 2028: 2015: 2000: 1991: 1982: 1936: 1923: 1891: 1878: 1853: 1844: 1832: 1803: 1787: 1765: 1752: 1730: 1707: 1695: 1682: 1662: 1647: 1620: 1587: 1567: 1550: 1524: 1495: 1470: 1423: 1416: 1395: 1378: 1376: 1373: 1372: 1371: 1360: 1353: 1346: 1341: 1336: 1328: 1321: 1316: 1309: 1306: 1305: 1304: 1303: 1302: 1291: 1290: 1289: 1282: 1272: 1271: 1270: 1267: 1257: 1256: 1255: 1248: 1241: 1234: 1227: 1224: 1217: 1210: 1194: 1191:Moderna Museet 1185:1963: Made by 1183: 1180: 1169: 1151: 1148: 1105: 1102: 1090:constructivist 1086:Sophie Matisse 1018:Sherrie Levine 1007:Sherrie Levine 995: 992: 939:exhibition at 916:Moderna Museet 875: 872: 827:conceptual art 796: 793: 626: 623: 556:Calvin Tomkins 523:on the piece, 491:; the Dadaist 277:reproduced in 148: 145: 143:(number 345). 137:Arturo Schwarz 66:Marcel Duchamp 26:Marcel Duchamp 15: 9: 6: 4: 3: 2: 7861: 7850: 7847: 7845: 7842: 7840: 7837: 7835: 7832: 7830: 7827: 7825: 7822: 7820: 7817: 7815: 7812: 7810: 7807: 7806: 7804: 7789: 7786: 7784: 7781: 7779: 7776: 7774: 7771: 7769: 7766: 7764: 7761: 7759: 7756: 7754: 7753:New York Dada 7751: 7748: 7747: 7743: 7740: 7739: 7735: 7734: 7732: 7728: 7722: 7719: 7717: 7714: 7712: 7709: 7707: 7704: 7702: 7699: 7697: 7694: 7692: 7691:Paul Haviland 7689: 7687: 7684: 7683: 7681: 7679:relationships 7675: 7668: 7667: 7663: 7662: 7660: 7656: 7649: 7648: 7644: 7641: 7640: 7636: 7633: 7631: 7627: 7624: 7623: 7619: 7616: 7615: 7611: 7608: 7607: 7603: 7600: 7599: 7595: 7592: 7591: 7587: 7584: 7583: 7579: 7576: 7575: 7571: 7570: 7568: 7564: 7560: 7553: 7548: 7546: 7541: 7539: 7534: 7533: 7530: 7520: 7510: 7509: 7508:Postmodernism 7503: 7502: 7494: 7487: 7483: 7480: 7476: 7473: 7469: 7466: 7462: 7459: 7455: 7452: 7451:Metamodernism 7448: 7445: 7441: 7438: 7434: 7431: 7427: 7424: 7420: 7417: 7416:New Hollywood 7413: 7410: 7406: 7403: 7399: 7396: 7392: 7389: 7385: 7382: 7378: 7375: 7371: 7368: 7364: 7361: 7357: 7354: 7350: 7347: 7343: 7340: 7336: 7331: 7327: 7324: 7320: 7317: 7313: 7312: 7310: 7309:Impressionism 7306: 7303: 7299: 7296: 7292: 7289: 7285: 7282: 7278: 7275: 7271: 7268: 7264: 7261: 7257: 7254: 7250: 7247: 7243: 7240: 7236: 7233: 7229: 7226: 7222: 7219: 7215: 7211: 7210: 7204: 7200: 7199: 7193: 7190: 7186: 7183: 7179: 7178: 7176: 7172: 7158: 7157: 7152: 7146: 7145: 7140: 7134: 7133: 7128: 7122: 7121: 7116: 7110: 7109: 7104: 7098: 7097: 7092: 7086: 7085: 7080: 7074: 7073: 7068: 7062: 7061: 7056: 7050: 7049: 7044: 7038: 7037: 7032: 7026: 7025: 7020: 7019: 7017: 7013: 7006: 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4176:Anemic Cinema 4173: 4172: 4170: 4166: 4161: 4150: 4149: 4145: 4142: 4141: 4137: 4134: 4133: 4129: 4126: 4125: 4121: 4118: 4117: 4113: 4110: 4109: 4105: 4102: 4101: 4097: 4094: 4093: 4089: 4086: 4085: 4081: 4078: 4077: 4073: 4070: 4069: 4065: 4062: 4061: 4057: 4054: 4053: 4052:Bicycle Wheel 4049: 4046: 4045: 4041: 4038: 4037: 4033: 4030: 4029: 4025: 4022: 4021: 4017: 4015: 4012: 4011: 4009: 4005: 4001: 3994: 3989: 3987: 3982: 3980: 3975: 3974: 3971: 3965: 3962: 3960: 3956: 3952: 3949: 3947: 3943: 3939: 3935: 3932: 3931: 3926: 3924: 3922: 3918: 3917: 3908: 3904: 3902: 3898: 3894: 3890: 3888: 3884: 3880: 3876: 3873: 3869: 3865: 3864: 3863:New Statesman 3859: 3854: 3850: 3846: 3844: 3837: 3836: 3826: 3824:0-8050-5789-7 3820: 3816: 3812: 3808: 3804: 3802:0-87846-644-4 3798: 3794: 3789: 3785: 3783:0-534-63640-3 3779: 3775: 3774: 3768: 3764: 3759: 3755: 3751: 3746: 3741: 3737: 3733: 3729: 3724: 3721: 3720: 3715: 3714:Gammel, Irene 3712: 3708: 3706:0-306-80303-8 3702: 3698: 3693: 3690: 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Tate Modern 3504: 3498: 3483: 3477: 3462: 3456: 3441: 3435: 3428: 3424: 3418: 3411: 3405: 3398: 3394: 3388: 3382: 3378: 3374: 3373: 3366: 3358: 3354: 3347: 3345: 3343: 3341: 3333: 3332: 3325: 3311: 3310:www.artsy.net 3307: 3301: 3286: 3282: 3276: 3262: 3256: 3242: 3241:www.artsy.net 3238: 3232: 3218: 3214: 3207: 3193: 3189: 3182: 3168: 3164: 3158: 3144: 3140: 3134: 3119: 3115: 3111: 3107: 3103: 3099: 3095: 3088: 3074: 3070: 3064: 3050: 3046: 3040: 3031: 3015: 3011: 3005: 2999: 2995: 2992: 2987: 2971: 2967: 2963: 2959: 2953: 2947: 2943: 2940: 2935: 2919: 2915: 2910: 2909:"Art attacks" 2902: 2887: 2883: 2877: 2869: 2863: 2859: 2852: 2844: 2843: 2838: 2831: 2829: 2812: 2808: 2802: 2796: 2792: 2788: 2787: 2780: 2773: 2769: 2763: 2756: 2750: 2743: 2742: 2735: 2727: 2721: 2717: 2710: 2702: 2700:1-59247-646-5 2696: 2692: 2691: 2683: 2681: 2672: 2666: 2662: 2654: 2643: 2642: 2634: 2628: 2624: 2621: 2616: 2601: 2597: 2591: 2583: 2581:1-84084-513-9 2577: 2573: 2566: 2558: 2554: 2548: 2534: 2530: 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