fbpx
Wikipedia

Fountain (Duchamp)

Fountain is a readymade sculpture by Marcel Duchamp in 1917, consisting of a porcelain urinal signed "R. Mutt". In April 1917, an ordinary piece of plumbing chosen by Duchamp was submitted for an exhibition of the Society of Independent Artists, the inaugural exhibition by the Society to be staged at the Grand Central Palace 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."[2] In Duchamp's presentation, the urinal's orientation was altered from its usual positioning.[3][4][5] Fountain 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.[6] Following that removal, Fountain was photographed at Alfred Stieglitz's studio, and the photo published in the Dada journal The Blind Man. The original has been lost.

Marcel Duchamp Fountain, 1917, photograph by Alfred Stieglitz at 291 art gallery following the 1917 Society of Independent Artists exhibit, with entry tag visible. The backdrop is The Warriors by Marsden Hartley.[1]

The work is regarded by art historians and theorists of the avant-garde as a major landmark in 20th-century art. Sixteen replicas were commissioned from Duchamp in the 1950s and 1960s and made to his approval.[7] Some have suggested that the original work was by the female artist Elsa von Freytag-Loringhoven[8][9] who had submitted it to Duchamp as a friend, but art historians maintain that Duchamp was solely responsible for Fountain's presentation.[3][10][11]

Fountain is included in the Marcel Duchamp catalogue raisonné by Arturo Schwarz; The complete works of Marcel Duchamp (number 345).[12]

Origin edit

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

Marcel Duchamp arrived in the United States less than two years prior to the creation of Fountain and had become involved with Francis Picabia, Man Ray, and Beatrice Wood (amongst others) in the creation of an anti-rational, anti-art, proto-Dada cultural movement in New York City.[13][14][15]

In early 1917, rumors spread that Duchamp was working on a Cubist painting titled Tulip Hysteria Co-ordinating, in preparation for the largest exhibition of modern art ever to take place in the United States.[16] When Tulip Hysteria Co-ordinating did not appear at the show, those who had expected to see it were disappointed.[17] But the painting likely never existed.[6][18]

 
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: In Advance of the Broken Arm (1915), and Hat rack (Porte-chapeau) (1917). This photograph is reproduced at the top right of one of the plates from Duchamp's La Boîte-en-valise.
 
The Blind Man, No. 2, New York, 1917, p. 5, by Louise Norton. The article included a photo of the piece and a letter by Alfred Stieglitz, and writings by Louise Norton, Beatrice Wood and Walter Arensberg.[19]
 
The Blind Man, No. 2, New York, 1917, p. 6, by Louise Norton
 
Fountain reproduced in The Blind Man, No. 2, New York, 1917
 
Jean Crotti, 1915, Portrait of Marcel Duchamp (Sculpture made to measure), mixed media. Exhibited Montross Gallery 4–22 April 1916, New York City. Sculpture lost or destroyed[20]
 
A miniature of Fountain appears in Duchamp's Boîte-en-valise, Cleveland Museum of Art

According to one version, the creation of Fountain began when, accompanied by artist Joseph Stella and art collector Walter Arensberg, Duchamp purchased a standard Bedfordshire model urinal from the J. L. Mott Iron Works, 118 Fifth Avenue. The artist brought the urinal to his studio at 33 West 67th Street, reoriented it 90 degrees[3][4] from its originally intended position of use,[21][5][22] and wrote on it, "R. Mutt 1917".[23][24] Duchamp elaborated:

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 Mutt and Jeff 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 [French slang for money-bags]. That's not a bad name for a pissotière. Get it? The opposite of poverty. But not even that much, just R. MUTT.[3][10]

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, Fountain was hidden from view during the show.[25][26] Duchamp resigned from the Board, and "withdrew" Tulip Hysteria Co-ordinating in protest.[6][27][28] For this reason the work was "suppressed" (Duchamp's expression).[5]

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 Fountain 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 exhibition, we found the Fountain again, behind a partition, and I retrieved it! (Marcel Duchamp, 1971)[29]

The New York Dadaists stirred controversy about Fountain and its being rejected in the second issue of The Blind Man which included a photo of the piece and a letter by Alfred Stieglitz, and writings by Louise Norton, Beatrice Wood and Arensberg.[19] An editorial, possibly written by Wood, accompanying the photograph, entitled "The Richard Mutt Case",[30] made a claim that would prove to be important concerning certain works of art that would come after it:

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 object.[19]

In defense of the work being art, the piece continues, "The only works of art America has given are her plumbing and her bridges."[19] Duchamp described his intent with the piece was to shift the focus of art from physical craft to intellectual interpretation.

In a letter dated 23 April 1917, Stieglitz wrote of the photograph he took of Fountain: "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 oriental look about it—a cross between a Buddha and a Veiled Woman."[3][31]

In 1918, Mercure de France published an article attributed to Guillaume Apollinaire stating Fountain, originally titled "le Bouddha de la salle de bain" (Buddha of the bathroom), represented a sitting Buddha.[32] 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.[19] 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.[19][32] On the second point, R. Mutt pointed out that the fact Fountain was not made by the hand of the artist was unimportant. The importance was in the choice made by the artist.[32] 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.[19][32]

Menno Hubregtse argues that Duchamp may have chosen Fountain as a readymade because it parodied Robert J. Coady's exaltation of industrial machines as pure forms of American art.[33] Coady, who championed his call for American art in his publication The Soil, printed a scathing review of Jean Crotti's Portrait of Marcel Duchamp (Sculpture Made to Measure) 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."[34]

Some have contested that Duchamp created Fountain, 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 Suzanne: "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.")[35][36][37] Duchamp never identified his female friend, but three candidates have been proposed: an early appearance of Duchamp's female alter ego Rrose Sélavy;[3][10] the Dadaist Elsa von Freytag-Loringhoven;[36][38] or Louise Norton (a Dada poet and a close friend of Duchamp,[39] later married to the avant-garde French composer Edgard Varèse),[40] who contributed an essay to The Blind Man discussing Fountain,[19] and whose address is partially discernible on the paper entry ticket in the Stieglitz photograph.[41] On one hand, the fact that Duchamp wrote 'sent' not 'made', does not indicate that someone else created the work.[3] Duchamp's female alter ego has been discredited as the inception of Rrose Sélavy occurred in the 1920s, years after the initial exhibition.[42] Furthermore, there is no documentary or testimonial evidence that suggests von Freytag created Fountain.[3] However, despite a lack of documentary evidence, it has been proven[43] that von Freytag had been experimenting with the concept of bodily fluids as high art in her practice, even collaborating with photographer Morton Livingston Schamberg on the piece, God (1917),[44] which maintains a similar message and aesthetic to that of Fountain. The piece had been attributed to Schamberg until the Philadelphia Museum of Art adjusted the accreditation.[45]

Further arguments against Duchamp as author have included that the R. Mutt, signature makes more sense as a German pun on armut (poverty) or mutter (mother), taking into consideration the geo-political climate at the time and the tension between Germany and the US.[46] 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 J. L. Mott Iron Works 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. [46] Thompson uses this research to claim that the signature could not have been inspired by the name of J. L. Mott because Duchamp could not have purchased the urinal there.[46][47]

Shortly after its initial exhibition, Fountain was lost. According to Duchamp biographer Calvin Tomkins, the best guess is that it was thrown out as rubbish by Stieglitz, a common fate of Duchamp's early readymades.[48] However, the myth goes that the original Fountain was in fact not thrown out but returned to Richard Mutt by Duchamp.[35][36][37]

The reaction engendered by Fountain continued for weeks following the exhibition submission. An article was published in Boston on 25 April 1917:

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 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."[49][50]

Duchamp began making miniature reproductions of Fountain in 1935, first in papier-mâché and then in porcelain,[51] for his multiple editions of a miniature museum 'retrospective' titled Boîte-en-valise or 'box in a suitcase', 1935–66.[52][53][54] Duchamp carried many of these miniature works within The Suitcase which were replicas of some of his most prominent work.[55] The first 1:1 reproduction of Fountain 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.[56][57][58] These editions ended up in a number of important public collections; Indiana University Art Museum, San Francisco Museum of Modern Art, the National Gallery of Canada, Centre Georges Pompidou and Tate Modern. The edition of eight was manufactured from glazed earthenware painted to resemble the original porcelain, with a signature, reproduced in black paint.[3]

Interpretations edit

Of all the artworks in this series of readymades, Fountain 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.[59] Similarly, philosopher Stephen Hicks[60] argued that Duchamp, who was quite familiar with the history of European art, was obviously making a provocative statement with Fountain:

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, 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.[60]

The impact of Duchamp's Fountain 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".[61]

Since the photograph taken by Stieglitz is the only image of the original sculpture, there are some interpretations of Fountain by looking not only at reproductions but this particular photograph. Tomkins notes:

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 Brâncuși's polished erotic forms.[1][62]

Expanding upon the erotic interpretation linked to Brâncuși's work, Tim Martin has argued there were strong sexual connotations with the Fountain, linked to it being placed horizontally. He goes onto say:

In placing the urinal horizontally it appears more passive, and feminine, while remaining a receptacle designed for the functioning of the male penis.[2]

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 Armut (meaning "poverty"), or possibly Urmutter (meaning "great mother").[36] The name R. Mutt could also be a play on its commercial origins or on the famous comic strip of the time, Mutt and Jeff (making the urinal perhaps the first work of art based on a comic).[63] Duchamp said the R stood for Richard, French slang for "moneybags", which according to one critic makes Fountain "a kind of scatological golden calf".[24]

Rhonda Roland Shearer in the online journal Tout-Fait (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.[10]

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 urinal—very few people think there is anything wonderful about a urinal."[22][64]

Rudolf E. Kuenzli states, in Dada and Surrealist Film (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.[65]

Duchamp drew an ink copy of the 1917 Stieglitz photograph in 1964 for the cover of an exhibition catalogue, Marcel Duchamp: Ready-mades, etc., 1913–1964. The illustration appeared as a photographic negative. Later, Duchamp made a positive version, titled Mirrorical Return (Renvoi miroirique; 1964). Dalia Judovitz writes:

Structured as an emblem, the visual and linguistic elements set up a punning interplay that helps us to explore further the mechanisms that Fountain 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 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 Fountain is thus tied to its "mirrorical return", like the faucet in the title.[5]

During the 1950s and 1960s, as Fountain 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, 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".[10][40]

Legacy edit

In December 2004, Duchamp's Fountain was voted the most influential artwork of the 20th century by 500 selected British art world professionals. Second place was afforded to Picasso's Les Demoiselles d'Avignon (1907) and third to Andy Warhol's Marilyn Diptych (1962).[66] The Independent noted in a February 2008 article that with this single work, Duchamp invented conceptual art and "severed forever the traditional link between the artist's labour and the merit of the work".[67]

Jerry Saltz wrote in The Village Voice in 2006:

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," [sic] 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.[24]

Others have questioned whether Duchamp's Fountain really could constitute a work of art. Grayson Perry stated in Playing to The Gallery 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.'"[68]

Interventions edit

 
An inexact Fountain replica, Scottish National Gallery of Modern Art

Several performance artists have attempted to contribute to the piece by urinating in it. South African born artist Kendell Geers rose to international notoriety in 1993 when, at a show in Venice, he urinated into Fountain.[69] Artist / musician Brian Eno declared he successfully urinated in Fountain 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.[70] Swedish artist Björn Kjelltoft urinated in Fountain at Moderna Museet in Stockholm in 1999.[71]

In spring 2000, Yuan Chai and Jian Jun Xi, two performance artists, who in 1999 had jumped on Tracey Emin's installation-sculpture My Bed in the Turner Prize exhibition at Tate Britain, went to the newly opened Tate Modern and tried to urinate on the Fountain which was on display. However, they were prevented from soiling the sculpture directly by its Perspex case. The Tate, which denied that the duo had succeeded in urinating into the sculpture itself,[72] 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 invitation. As Duchamp said himself, it's the artist's choice. He chooses what is art. We just added to it."[67]

On January 4, 2006, while on display in the Dada show in the Pompidou Centre in Paris, Fountain was attacked by Pierre Pinoncelli, a 76-year-old French performance artist, most noted for damaging two of the eight copies of Fountain. The hammer he used during the assault on the artwork caused a slight chip.[73] Pinoncelli, who was arrested, said the attack was a work of performance art that Marcel Duchamp himself would have appreciated.[74] In 1993 Pinoncelli urinated into the piece while it was on display in Nimes, in southern France. Both of Pinoncelli's performances derive from neo-Dadaists' and Viennese Actionists' intervention or manoeuvre.[75]

Reinterpretations edit

 
Fountain (Buddha), a bronze remake by Sherrie Levine, 1996

Appropriation artist Sherrie Levine created bronze copies in 1991 and 1996 titled Fountain (Madonna) and Fountain (Buddha) respectively.[76][77] 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.[78] Adding to Duchamp's audacious move, Levine turns his gesture back into an "art object" by elevating its materiality and finish. As a feminist artist, Levine remakes works specifically by male artists who commandeered patriarchal dominance in art history."[79]

John Baldessari created an edition of multicolored ceramic bed pans with the text: "The Artist is a Fountain", in 2002.[80]

In 2003 Saul Melman constructed a massively enlarged version, Johnny on the Spot, for Burning Man and subsequently burned it.[81]

In 2015 Mike Bidlo created a cracked "bronze redo" of Fountain titled Fractured Fountain (Not Duchamp Fountain 1917), which was exhibited at Francis M. Naumann Fine Art in 2016.[82] "Bidlo's version is a lovingly handcrafted porcelain copy that he then smashed, reconstituted, and cast in bronze."[83]

Exactly 100 years to the day of the opening of the First Exhibition of the Society of Independent Artists, Francis M. Naumann Fine Art opened "Marcel Duchamp Fountain: An Homage" on April 10, 2017.[84] The show included Urinal Cake by Sophie Matisse, Russian constructivist urinals by Alexander Kosolapov, and a 2015 work by Ai Wei Wei.[85][86]

Afterword edit

From the 1950s, Duchamp's influence on American artists had grown exponentially. Life 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.[87][88] By the mid-50s his readymades were present in permanent collections of American museums.[88]

In 1961, Duchamp wrote a letter to fellow Dadaist Hans Richter in which he supposedly said:

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 aesthetics. 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.[89][90]

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.[88][91]

Contrary to Richter's quote, Duchamp wrote favorably of Pop art in 1964, though indifferent to the humor or materials of Pop artists:

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 Campbell soup cans on a canvas.[88][92]

Editions and provenance edit

Seventeen authorized versions of Fountain have been created, according to a list compiled by Cabinet magazine.[7] Two of them, including the 1917 original, are lost.

See also edit

References edit

  1. ^ a b Tomkins, Duchamp: A Biography, p. 186.
  2. ^ a b Martin, Tim (1999). Essential Surrealists. Bath: Dempsey Parr. p. 42. ISBN 1-84084-513-9.
  3. ^ a b c d e f g h i "Fountain, Marcel Duchamp, 1917, replica, 1964". tate.org.uk. Tate. Retrieved 5 October 2018.
  4. ^ a b Gavin Parkinson, The Duchamp Book: Tate Essential Artists Series, Harry N. Abrams, 2008, p. 61, ISBN 1854377663
  5. ^ a b c d Dalia Judovitz, Unpacking Duchamp: Art in Transit, University of California Press, 1998, pp. 124, 133, ISBN 0520213769
  6. ^ a b c Cabanne, P., & Duchamp, M. (1971). Dialogues with Marcel Duchamp 15 November 2017 at the Wayback Machine
  7. ^ a b "An Overview of the Seventeen Known Versions of Fountain". 2007.
  8. ^ "Duchamp and the pissoir-taking sexual politics of the art world". TheGuardian.com. 7 November 2014.
  9. ^ Hustvedt, Siri (2019-03-29). "When will the art world recognise the real artist behind Duchamp's Fountain?". The Guardian. ISSN 0261-3077. Retrieved 2019-03-31.
  10. ^ a b c d e Camfield, William A. (1989). Marcel Duchamp, Fountain. Houston, TX: Houston Fine Art Press. p. 183. ISBN 0939594102. LCCN 87028248.
  11. ^ For a recent analysis of the reception of this story, see Krajewski, Michael: "Beuys. Duchamp: Two Stories. Two Artist Legends." In: Beuys & Duchamp. Artists of the Future. Magdalena Holzhey, Katharina Neuburger, Kornelia Röder, eds., Krefelder Kunstmuseen, Berlin 2021, p. 337-345, ISBN 978-3-7757-5068-4
  12. ^ Arturo Schwarz, The complete works of Marcel Duchamp, New York, Delano Greenidge, 2000
  13. ^ 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" (2006). Dissertations are available from ProQuest. AAI3211072.
  14. ^ Hopkins, David, Marcel Duchamp and Max Ernst: The Bride Shared, Volume 21 of Clarendon studies in the history of art, Clarendon Press, 1998, p. 74, ISBN 0198175132
  15. ^ Biro, Matthew, The Dada Cyborg: Visions of the New Human in Weimar Berlin, G – Reference, Information and Interdisciplinary Subjects Series, University of Minnesota Press, 2009, p. 27, ISBN 0816636192
  16. ^ Catalogue of the First Annual Exhibition of the Society of Independent Artists
  17. ^ Sue Roe, In Montparnasse: The Emergence of Surrealism in Paris, from Duchamp to Dali, Penguin UK, Jun 21, 2018, ISBN 0241976596
  18. ^ Dagen, Philippe, "Duchamp piège l'avant-garde", Le Monde, 17 August 2006 (French)
  19. ^ a b c d e f g h The Blind Man, Vol. 2, 1917, p. 5.
  20. ^ Current opinion, Vol. LX, No. 6, June 1916, p. 431, Literary digest. New York: Current Literature Pub. Co., 1913–1925
  21. ^ 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.
  22. ^ a b , Dada/Surrealism 16 (1987): 149–167, Iowa Research Online, ISSN 0084-9537
  23. ^ Tomkins, Duchamp: A Biography, p. 181.
  24. ^ a b c Saltz, Jerry (February 21, 2006), Idol Thoughts, The Village Voice. November 12, 2023, at the Wayback Machine.
  25. ^ Cabanne, Dialogs with Marcel Duchamp, p. 55
  26. ^ Levine and Halle, Sherrie and Howard (1992). "Fountain (After Duchamp: 1-6) La Fortune (After Duchamp: 1-6) La Fortune (After Man Ray: 1-6)". Grand Street. 1 (42): 81–95. doi:10.2307/25007559. JSTOR 25007559. Retrieved 26 August 2021.
  27. ^ "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."
  28. ^ Unsigned review, "His Art Too Crude for Independents", The New York Herald, 14 April 1917 (cited in Camfield, 1989, op.cit., 27)
  29. ^ Cabanne, Pierre, & Duchamp, Marcel, Dialogues With Marcel Duchamp, Hudson, 1971, translated from French by Ron Padgett, Da Capo Press, archive.org
  30. ^ Tomkins, Duchamp: A Biography, p. 185.
  31. ^ Naumann, Francis M., The Recurrent, Haunting Ghost: Essays on the Art, Life and Legacy of Marcel Duchamp, New York, 2012, pp. 70–81
  32. ^ a b c d Guillaume Apollinaire, Le Cas de Richard Mutt, Mercure de France, 16 June 1918, Gallica, Bibliothèque Nationale de France.
  33. ^ Hubregtse, Menno (2009). "Robert J. Coady's The Soil and Marcel Duchamp's Fountain: Taste, Nationalism, Capitalism, and New York Dada". Revue d'art canadienne/Canadian Art Review. 34 (2): 28–42. doi:10.7202/1069487ar. JSTOR 42630803.
  34. ^ Quoted in Hubregtse, "Robert J. Coady's The Soil and Marcel Duchamp's Fountain," 32
  35. ^ a b Marcel Duchamp to Suzanne, 11 April 1917. Jean Crotti papers, 1913–1973, bulk 1913–1961. Archives of American Art, Smithsonian Institution
  36. ^ a b c d Gammel, Irene (2002). Baroness Elsa: Gender, Dada, and Everyday Modernity. Cambridge: The MIT Press. pp. 222–227. ISBN 0-262-07231-9.
  37. ^ a b Marcel Duchamp, Affectionately, Marcel: The Selected Correspondence of Marcel Duchamp, ed. Francis M. Naumann and Hector Obalk (Ghent: Ludion Press, 2000), p. 47
  38. ^ Robert Reiss, "My Baroness: Elsa von Freytag-Loringhoven" in New York Dada, edited by Rudolf E. Kuenzli (New York: Willis Locker & Owens, 1986), pages 81–101.
  39. ^ Tate. "'Fountain', Marcel Duchamp, 1917, replica 1964". Tate. Retrieved 2020-07-26.
  40. ^ a b David M. Lubin, Grand Illusions: American Art and the First World War, Oxford University Press, 2016, ISBN 0190218622
  41. ^ Francis M. Naumann, New York Dada, 1915–23 (New York: Harry N. Abrams, 1994), p. 239, note 17.
  42. ^ "Marcel Duchamp as Rrose Sélavy". philamuseum.org. Retrieved 2023-08-09.
  43. ^ Gammel, Irene (2002). Baroness Elsa. doi:10.7551/mitpress/1517.001.0001. ISBN 9780262273435.
  44. ^ "God". philamuseum.org. Retrieved 2023-08-09.
  45. ^ Thill, Vanessa (2018-09-18). "Elsa von Freytag-Loringhoven, the Dada Baroness Who Invented the Readymade—before Duchamp". Artsy. Retrieved 2023-08-09.
  46. ^ a b c Spalding, Julian (2023). Art Exposed. Pallas Athene. pp. 131–137.
  47. ^ "The Jackdaw – Marcel Duchamp's Fountain… he lied!". Retrieved 2024-03-20.
  48. ^ Quoted in Gayford, Martin (16 February 2008). "The practical joke that launched an artistic revolution". The Daily Telegraph. London. p. 10 at 11. Archived from the original on 2022-01-12.
  49. ^ Franklin Clarkin, "Two Miles of Funny Pictures," Boston Evening Transcript, 25 April 1917.
  50. ^ William A. Camfield, Marcel Duchamp's Fountain, Its History and Aesthetics in the Context of 1917 (Part 1), Dada/Surrealism 16 (1987): pp. 64–94.
  51. ^ "A Museum That is Not". www.e-flux.com. Retrieved 2020-08-14.
  52. ^ Duchamp, Marcel. "Boîte-en-valise [The box in a valise]". Item held by National Gallery of Australia. Retrieved 2020-08-14.
  53. ^ "MoMA.org | Interactives | Exhibitions | 1999 | Museum as Muse | Duchamp". www.moma.org. Retrieved 2020-08-14.
  54. ^ "From or by Marcel Duchamp or Rrose Sélavy". Cleveland Museum of Art. 31 October 2018.
  55. ^ Martin, Tim (1999). Essential Surrealists. Bath: Dempsey Parr. pp. 42–47. ISBN 1-84084-513-9.
  56. ^ "An Overview of the Seventeen Known Versions of Fountain". www.cabinetmagazine.org. Fall 2007. Retrieved 2022-01-02.
  57. ^ Essay on Fountain 2004-10-12 at the Wayback Machine
  58. ^ Funcke, Bettina (2013). Not Objects so much as Images (PDF). p. 279.[permanent dead link]
  59. ^ See Praeger, Dave (2007). Poop Culture: How America is Shaped by its Grossest National Product. Los Angeles, Calif.: Feral House. ISBN 978-1-932595-21-5.
  60. ^ a b Hicks, Stephen R. C. (2004). Explaining Postmodernism: Skepticism and Socialism from Rousseau to Foucault. Tempe, AZ: Scholargy Press. p. 196. ISBN 1-59247-646-5.
  61. ^ Rescher, Nicholas (2015). A Journey through Philosophy in 101 Anecdotes. University of Pittsburgh Press. p. 223. ISBN 978-0-8229-8044-5.
  62. ^ Julia Dür, Glasswanderers, If that’s art, I’m a Hottentott, Tout-fait, Vol. 2, Issue 5, April 2003, Succession Marcel Duchamp
  63. ^ Francis M. Naumann, Beth Venn, Making mischief: Dada invades New York, Harry N. Abrams, Whitney Museum of American Art, 1997, p. 20.
  64. ^ Hahn, Otto, "Marcel Duchamp", L'Express, Paris, No. 684, 23 July 1964, p. 22. Quoted in Arturo Schwarz, The Complete Works of Marcel Duchamp, New York, Abrams, 1970, p. 466
  65. ^ Rudolf E. Kuenzli, Dada and Surrealist Film, MIT Press, 1996, p. 47, ISBN 026261121X
  66. ^ "Duchamp's urinal tops art survey". BBC News. 1 December 2004. Retrieved 5 October 2018.
  67. ^ a b Hensher, Philip (20 February 2008). "The loo that shook the world: Duchamp, Man Ray, Picabia". The Independent. London. pp. 2–5.
  68. ^ Perry, Grayson (2016). Playing to the Gallery. Penguin Books. p. 46. ISBN 978-0-141-97961-8.
  69. ^ "Kendell Geers- Conceptual Artist". www.onepeople.com. Retrieved 5 October 2018.
  70. ^ Blacklock, Mark (26 June 2003). "Art attacks". The Daily Telegraph. Archived from the original on 2022-01-12. Retrieved 9 May 2013.
  71. ^ Årets största konsthändelse 17 May 2011 at the Wayback Machine
  72. ^ . Press Association (referred to on the website of the Humanities Advanced Technology & Information Institute, University of Glasgow). 21 May 2000. Archived from the original on 21 December 2002. Retrieved 17 February 2008.
  73. ^ "Pierre Pinoncelli: This man is not an artist" at infoshop.org 4 December 2014 at the Wayback Machine
  74. ^ "Man held for hitting urinal work". BBC News. 6 January 2006. Retrieved 5 October 2018.
  75. ^ Revue Internationale du Droit d'Auteur, Issues 197–198, Association française pour la diffusion du droit d'auteur national et international, 2003, p. 30.
  76. ^ "SHERRIE LEVINE: MAYHEM". whitney.org. Retrieved 2020-08-14.
  77. ^ "Fountain (Buddha)". Museo Jumex. Retrieved 2020-08-14.
  78. ^ Levine and Halle, Sherrie and Howard (1992). "Fountain (After Duchamp: 1-6) La Fortune (After Man Ray: 1-6)". Grand Street. 42 (1): 81–95. doi:10.2307/25007559. JSTOR 25007559. Retrieved 28 August 2021.
  79. ^ "Fountain (Buddha) - Sherrie Levine | The Broad". www.thebroad.org. Retrieved 2020-08-14.
  80. ^ "John Baldessari - Repository (Orange/Blue); and Repository (Red/Green), 2002". Phillips. Retrieved 2020-08-14.
  81. ^ Chun, Kimberly (2013-08-15). "Approach of Burning Man sparks an outbreak of art". SFGate. Retrieved 2020-08-14.
  82. ^ Greenberger, Alex (2016-02-16). "Mike Bidlo at Francis M. Naumann Fine Art". ARTnews.com. Retrieved 2020-08-14.
  83. ^ "Mike Bidlo: Not Duchamp Fountain and Bottle Rack | Francis M. Naumann Fine Art | Artsy". www.artsy.net. Retrieved 2020-08-14.
  84. ^ "Marcel Duchamp, Fountain: An Homage « ARTEIDOLIA". Retrieved 2020-08-14.
  85. ^ ""Fountain: An Homage" at Francis M. Naumann Fine Art". artnet News. 2017-04-11. Retrieved 2020-08-14.
  86. ^ "Marcel Duchamp FOUNTAIN An Homage | Francis M. Naumann Fine Art | Artsy". www.artsy.net. Retrieved 2020-08-14.
  87. ^ Winthrop Sargeant, Dada's Daddy, A new tribute is paid to Duchamp, pioneer on nonsense and nihilism, Life, 28 April 1952, pp. 100–111
  88. ^ a b c d Girst, Thomas (April 2003). "(Ab)Using Marcel Duchamp: The concept of the Readymade in post-War and contemporary American art". Tout-fait: The Marcel Duchamp Studies Online Journal (5).
  89. ^ Alan Young, Dada and After: Extremist Modernism and English Literature, Manchester University Press, 1983, p. 202, ISBN 071900943X
  90. ^ Duchamp, in Hans Richter, Dada: Art and Anti-Art, New York, McGraw Hill, 1965: pp. 207–208.
  91. ^ Hans Richter, Begegnungen von Dada bis Heute, Köln, DuMont: pp. 155ff.
  92. ^ Rosalind Constable, New York's Avant-garde, and How It Got There, cited in Jennifer Gough-Cooper and Jacques Caumont, Ephemerides on and about Marcel Duchamp and Rrose Sélavy, 1887–1968, in Pontus Hulten, ed., Marcel Duchamp, Cambridge, MIT Press, 1993, entry for May 17, 1964.
  93. ^ "Fountain". Philadelphia Museum of Art. Retrieved 2022-09-03.
  94. ^ "Fountain". Moderna Museet. Retrieved 2022-09-03.
  95. ^ "Marcel Duchamp, Fountain, 1917/1964". San Francisco Museum of Modern Art. Retrieved 2022-09-03.
  96. ^ "'Fountain', Marcel Duchamp, 1917, replica 1964". Tate Modern. Retrieved 2022-09-03.
  97. ^ "Fountain". National Gallery of Canada. Retrieved 2022-09-03.
  98. ^ Francis M. Naumann, The Art Defying the Art Market, Tout-fait: The Marcel Duchamp Studies Online Journal, vol. 2, 5, April 2003
  99. ^ Carter B. Horsley, Contemporary Art & 14 Duchamp Readymades, The City Review, 2002
  100. ^ "Fountain". Independent Administrative Institution National Museum of Art. Retrieved 2022-09-03.
  101. ^ "Fountain". Indiana University, Sidney and Lois Eskenazi Museum of Art. Retrieved 2022-09-03.
  102. ^ "Fontaine". Centre Pompidou. Retrieved 2022-09-03.
  103. ^ Kamien-Kazhdan, Remaking the Readymade, p. 280
  104. ^ "Fountain". The Israel Museum, Jerusalem. Retrieved 2022-09-03.
  105. ^ Kamien-Kazhdan, Remaking the Readymade, p. 274

Notes edit

  • The Blind Man, Vol. 2, May 1917, New York City.
  • Cabanne, Pierre (1979) [1969]. Dialogs with Marcel Duchamp (in French). [S.l.]: Da Capo Press. ISBN 0-306-80303-8.
  • Gammel, Irene. Baroness Elsa: Gender, Dada and Everyday Modernity. Cambridge, MA: MIT Press, 2002.
  • Hubregtse, Menno (2009). "Robert J. Coady's The Soil and Marcel Duchamp's Fountain: Taste, Nationalism, Capitalism, and New York Dada". Revue d'art canadienne/Canadian Art Review. 34 (2): 28–42. doi:10.7202/1069487ar. JSTOR 42630803.
  • Kamien-Kazhdan, Adina (2018). Remaking the Readymade: Duchamp, Man Ray, and the Conundrum of the Replica. Routledge. p. 280.
  • Kleiner, Fred S. (2006). Gardner's Art Through the Ages: The Western Perspective. Belmont, Calif.: Thomson Wadsworth. ISBN 0-534-63640-3.
  • Marquis, Alice Goldfarb (2002). Marcel Duchamp: The Bachelor Stripped Bare A Biography. Minneapolis: MFA Publications: MFA Publications. ISBN 0-87846-644-4.
  • Tomkins, Calvin (1996). Duchamp: A Biography. New York, N.Y.: Henry Holt and Company. ISBN 0-8050-5789-7.

Further reading edit

  • Betacourt, Michael (2003). . Art Science Research Laboratory. Archived from the original on 1 March 2006.
  • West, Patrick (13 December 2004). "He was just taking the piss: Observations on Duchamp and his urinal". New Statesman.
  • Schwarz, Arturo, The Complete Works of Marcel Duchamp, revised and expanded edition, New York 1997, no. 345, pp. 648–50
  • Kuenzli, Rudolf E., Naumann, Francis M., Marcel Duchamp: Artist of the Century, Issue 16 of Dada surrealism, MIT Press, 1991, ISBN 0262610728
  • Adcock, Craig, Marcel Duchamp's Notes from the Large Glass: An N-Dimensional Analysis, Ann Arbor, Michigan: UMI Research Press, 1983, 29–39, ISBN 0835714543
  • Sidney Janis Gallery, Challenge and Defy: Extreme Examples by XX Century Artists, French and American, The New York 57th Street Journal, 25 September 1950

External links edit

fountain, duchamp, fountain, readymade, sculpture, marcel, duchamp, 1917, consisting, porcelain, urinal, signed, mutt, april, 1917, ordinary, piece, plumbing, chosen, duchamp, submitted, exhibition, society, independent, artists, inaugural, exhibition, society. Fountain is a readymade sculpture by Marcel Duchamp in 1917 consisting of a porcelain urinal signed R Mutt In April 1917 an ordinary piece of plumbing chosen by Duchamp was submitted for an exhibition of the Society of Independent Artists the inaugural exhibition by the Society to be staged at the Grand Central Palace 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 2 In Duchamp s presentation the urinal s orientation was altered from its usual positioning 3 4 5 Fountain 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 6 Following that removal Fountain was photographed at Alfred Stieglitz s studio and the photo published in the Dada journal The Blind Man The original has been lost Marcel Duchamp Fountain 1917 photograph by Alfred Stieglitz at 291 art gallery following the 1917 Society of Independent Artists exhibit with entry tag visible The backdrop is The Warriors by Marsden Hartley 1 The work is regarded by art historians and theorists of the avant garde as a major landmark in 20th century art Sixteen replicas were commissioned from Duchamp in the 1950s and 1960s and made to his approval 7 Some have suggested that the original work was by the female artist Elsa von Freytag Loringhoven 8 9 who had submitted it to Duchamp as a friend but art historians maintain that Duchamp was solely responsible for Fountain s presentation 3 10 11 Fountain is included in the Marcel Duchamp catalogue raisonne by Arturo Schwarz The complete works of Marcel Duchamp number 345 12 Contents 1 Origin 2 Interpretations 3 Legacy 3 1 Interventions 3 2 Reinterpretations 3 3 Afterword 4 Editions and provenance 5 See also 6 References 6 1 Notes 7 Further reading 8 External linksOrigin edit nbsp Eljer Co Highest Quality Two Fired Vitreous China Catalogue 1918 Bedfordshire No 700 Marcel Duchamp arrived in the United States less than two years prior to the creation of Fountain and had become involved with Francis Picabia Man Ray and Beatrice Wood amongst others in the creation of an anti rational anti art proto Dada cultural movement in New York City 13 14 15 In early 1917 rumors spread that Duchamp was working on a Cubist painting titled Tulip Hysteria Co ordinating in preparation for the largest exhibition of modern art ever to take place in the United States 16 When Tulip Hysteria Co ordinating did not appear at the show those who had expected to see it were disappointed 17 But the painting likely never existed 6 18 nbsp 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 In Advance of the Broken Arm 1915 and Hat rack Porte chapeau 1917 This photograph is reproduced at the top right of one of the plates from Duchamp s La Boite en valise nbsp The Blind Man No 2 New York 1917 p 5 by Louise Norton The article included a photo of the piece and a letter by Alfred Stieglitz and writings by Louise Norton Beatrice Wood and Walter Arensberg 19 nbsp The Blind Man No 2 New York 1917 p 6 by Louise Norton nbsp Fountain reproduced in The Blind Man No 2 New York 1917 nbsp Jean Crotti 1915 Portrait of Marcel Duchamp Sculpture made to measure mixed media Exhibited Montross Gallery 4 22 April 1916 New York City Sculpture lost or destroyed 20 nbsp A miniature of Fountain appears in Duchamp s Boite en valise Cleveland Museum of Art According to one version the creation of Fountain began when accompanied by artist Joseph Stella and art collector Walter Arensberg Duchamp purchased a standard Bedfordshire model urinal from the J L Mott Iron Works 118 Fifth Avenue The artist brought the urinal to his studio at 33 West 67th Street reoriented it 90 degrees 3 4 from its originally intended position of use 21 5 22 and wrote on it R Mutt 1917 23 24 Duchamp elaborated 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 Mutt and Jeff 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 French slang for money bags That s not a bad name for a pissotiere Get it The opposite of poverty But not even that much just R MUTT 3 10 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 Fountain was hidden from view during the show 25 26 Duchamp resigned from the Board and withdrew Tulip Hysteria Co ordinating in protest 6 27 28 For this reason the work was suppressed Duchamp s expression 5 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 Fountain 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 exhibition we found the Fountain again behind a partition and I retrieved it Marcel Duchamp 1971 29 The New York Dadaists stirred controversy about Fountain and its being rejected in the second issue of The Blind Man which included a photo of the piece and a letter by Alfred Stieglitz and writings by Louise Norton Beatrice Wood and Arensberg 19 An editorial possibly written by Wood accompanying the photograph entitled The Richard Mutt Case 30 made a claim that would prove to be important concerning certain works of art that would come after it 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 object 19 In defense of the work being art the piece continues The only works of art America has given are her plumbing and her bridges 19 Duchamp described his intent with the piece was to shift the focus of art from physical craft to intellectual interpretation In a letter dated 23 April 1917 Stieglitz wrote of the photograph he took of Fountain 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 oriental look about it a cross between a Buddha and a Veiled Woman 3 31 In 1918 Mercure de France published an article attributed to Guillaume Apollinaire stating Fountain originally titled le Bouddha de la salle de bain Buddha of the bathroom represented a sitting Buddha 32 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 19 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 19 32 On the second point R Mutt pointed out that the fact Fountain was not made by the hand of the artist was unimportant The importance was in the choice made by the artist 32 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 19 32 Menno Hubregtse argues that Duchamp may have chosen Fountain as a readymade because it parodied Robert J Coady s exaltation of industrial machines as pure forms of American art 33 Coady who championed his call for American art in his publication The Soil printed a scathing review of Jean Crotti s Portrait of Marcel Duchamp Sculpture Made to Measure 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 34 Some have contested that Duchamp created Fountain 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 Suzanne Une de mes amies sous un pseudonyme masculin Richard Mutt avait envoye une pissotiere en porcelaine comme sculpture One of my female friends under a masculine pseudonym Richard Mutt sent in a porcelain urinal as a sculpture 35 36 37 Duchamp never identified his female friend but three candidates have been proposed an early appearance of Duchamp s female alter ego Rrose Selavy 3 10 the Dadaist Elsa von Freytag Loringhoven 36 38 or Louise Norton a Dada poet and a close friend of Duchamp 39 later married to the avant garde French composer Edgard Varese 40 who contributed an essay to The Blind Man discussing Fountain 19 and whose address is partially discernible on the paper entry ticket in the Stieglitz photograph 41 On one hand the fact that Duchamp wrote sent not made does not indicate that someone else created the work 3 Duchamp s female alter ego has been discredited as the inception of Rrose Selavy occurred in the 1920s years after the initial exhibition 42 Furthermore there is no documentary or testimonial evidence that suggests von Freytag created Fountain 3 However despite a lack of documentary evidence it has been proven 43 that von Freytag had been experimenting with the concept of bodily fluids as high art in her practice even collaborating with photographer Morton Livingston Schamberg on the piece God 1917 44 which maintains a similar message and aesthetic to that of Fountain The piece had been attributed to Schamberg until the Philadelphia Museum of Art adjusted the accreditation 45 Further arguments against Duchamp as author have included that the R Mutt signature makes more sense as a German pun on armut poverty or mutter mother taking into consideration the geo political climate at the time and the tension between Germany and the US 46 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 J L Mott Iron Works 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 46 Thompson uses this research to claim that the signature could not have been inspired by the name of J L Mott because Duchamp could not have purchased the urinal there 46 47 Shortly after its initial exhibition Fountain was lost According to Duchamp biographer Calvin Tomkins the best guess is that it was thrown out as rubbish by Stieglitz a common fate of Duchamp s early readymades 48 However the myth goes that the original Fountain was in fact not thrown out but returned to Richard Mutt by Duchamp 35 36 37 The reaction engendered by Fountain continued for weeks following the exhibition submission An article was published in Boston on 25 April 1917 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 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 49 50 Duchamp began making miniature reproductions of Fountain in 1935 first in papier mache and then in porcelain 51 for his multiple editions of a miniature museum retrospective titled Boite en valise or box in a suitcase 1935 66 52 53 54 Duchamp carried many of these miniature works within The Suitcase which were replicas of some of his most prominent work 55 The first 1 1 reproduction of Fountain 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 56 57 58 These editions ended up in a number of important public collections Indiana University Art Museum San Francisco Museum of Modern Art the National Gallery of Canada Centre Georges Pompidou and Tate Modern The edition of eight was manufactured from glazed earthenware painted to resemble the original porcelain with a signature reproduced in black paint 3 Interpretations editOf all the artworks in this series of readymades Fountain 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 59 Similarly philosopher Stephen Hicks 60 argued that Duchamp who was quite familiar with the history of European art was obviously making a provocative statement with Fountain 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 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 60 The impact of Duchamp s Fountain 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 61 Since the photograph taken by Stieglitz is the only image of the original sculpture there are some interpretations of Fountain by looking not only at reproductions but this particular photograph Tomkins notes 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 Brancuși s polished erotic forms 1 62 Expanding upon the erotic interpretation linked to Brancuși s work Tim Martin has argued there were strong sexual connotations with the Fountain linked to it being placed horizontally He goes onto say In placing the urinal horizontally it appears more passive and feminine while remaining a receptacle designed for the functioning of the male penis 2 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 Armut meaning poverty or possibly Urmutter meaning great mother 36 The name R Mutt could also be a play on its commercial origins or on the famous comic strip of the time Mutt and Jeff making the urinal perhaps the first work of art based on a comic 63 Duchamp said the R stood for Richard French slang for moneybags which according to one critic makes Fountain a kind of scatological golden calf 24 Rhonda Roland Shearer in the online journal Tout Fait 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 10 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 urinal very few people think there is anything wonderful about a urinal 22 64 Rudolf E Kuenzli states in Dada and Surrealist Film 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 65 Duchamp drew an ink copy of the 1917 Stieglitz photograph in 1964 for the cover of an exhibition catalogue Marcel Duchamp Ready mades etc 1913 1964 The illustration appeared as a photographic negative Later Duchamp made a positive version titled Mirrorical Return Renvoi miroirique 1964 Dalia Judovitz writes Structured as an emblem the visual and linguistic elements set up a punning interplay that helps us to explore further the mechanisms that Fountain 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 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 Fountain is thus tied to its mirrorical return like the faucet in the title 5 During the 1950s and 1960s as Fountain 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 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 10 40 Legacy editIn December 2004 Duchamp s Fountain was voted the most influential artwork of the 20th century by 500 selected British art world professionals Second place was afforded to Picasso s Les Demoiselles d Avignon 1907 and third to Andy Warhol s Marilyn Diptych 1962 66 The Independent noted in a February 2008 article that with this single work Duchamp invented conceptual art and severed forever the traditional link between the artist s labour and the merit of the work 67 Jerry Saltz wrote in The Village Voice in 2006 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 sic 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 24 Others have questioned whether Duchamp s Fountain really could constitute a work of art Grayson Perry stated in Playing to The Gallery 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 68 Interventions edit nbsp An inexact Fountain replica Scottish National Gallery of Modern Art Several performance artists have attempted to contribute to the piece by urinating in it South African born artist Kendell Geers rose to international notoriety in 1993 when at a show in Venice he urinated into Fountain 69 Artist musician Brian Eno declared he successfully urinated in Fountain 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 70 Swedish artist Bjorn Kjelltoft urinated in Fountain at Moderna Museet in Stockholm in 1999 71 In spring 2000 Yuan Chai and Jian Jun Xi two performance artists who in 1999 had jumped on Tracey Emin s installation sculpture My Bed in the Turner Prize exhibition at Tate Britain went to the newly opened Tate Modern and tried to urinate on the Fountain which was on display However they were prevented from soiling the sculpture directly by its Perspex case The Tate which denied that the duo had succeeded in urinating into the sculpture itself 72 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 invitation As Duchamp said himself it s the artist s choice He chooses what is art We just added to it 67 On January 4 2006 while on display in the Dada show in the Pompidou Centre in Paris Fountain was attacked by Pierre Pinoncelli a 76 year old French performance artist most noted for damaging two of the eight copies of Fountain The hammer he used during the assault on the artwork caused a slight chip 73 Pinoncelli who was arrested said the attack was a work of performance art that Marcel Duchamp himself would have appreciated 74 In 1993 Pinoncelli urinated into the piece while it was on display in Nimes in southern France Both of Pinoncelli s performances derive from neo Dadaists and Viennese Actionists intervention or manoeuvre 75 Reinterpretations edit nbsp Fountain Buddha a bronze remake by Sherrie Levine 1996 Appropriation artist Sherrie Levine created bronze copies in 1991 and 1996 titled Fountain Madonna and Fountain Buddha respectively 76 77 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 78 Adding to Duchamp s audacious move Levine turns his gesture back into an art object by elevating its materiality and finish As a feminist artist Levine remakes works specifically by male artists who commandeered patriarchal dominance in art history 79 John Baldessari created an edition of multicolored ceramic bed pans with the text The Artist is a Fountain in 2002 80 In 2003 Saul Melman constructed a massively enlarged version Johnny on the Spot for Burning Man and subsequently burned it 81 In 2015 Mike Bidlo created a cracked bronze redo of Fountain titled Fractured Fountain Not Duchamp Fountain 1917 which was exhibited at Francis M Naumann Fine Art in 2016 82 Bidlo s version is a lovingly handcrafted porcelain copy that he then smashed reconstituted and cast in bronze 83 Exactly 100 years to the day of the opening of the First Exhibition of the Society of Independent Artists Francis M Naumann Fine Art opened Marcel Duchamp Fountain An Homage on April 10 2017 84 The show included Urinal Cake by Sophie Matisse Russian constructivist urinals by Alexander Kosolapov and a 2015 work by Ai Wei Wei 85 86 Afterword edit From the 1950s Duchamp s influence on American artists had grown exponentially Life 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 87 88 By the mid 50s his readymades were present in permanent collections of American museums 88 In 1961 Duchamp wrote a letter to fellow Dadaist Hans Richter in which he supposedly said 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 aesthetics 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 89 90 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 ca va tres bien Ok that works very well in the margins 88 91 Contrary to Richter s quote Duchamp wrote favorably of Pop art in 1964 though indifferent to the humor or materials of Pop artists 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 Campbell soup cans on a canvas 88 92 Editions and provenance editSeventeen authorized versions of Fountain have been created according to a list compiled by Cabinet magazine 7 Two of them including the 1917 original are lost 1917 Original version lost 1950 Signed by Duchamp at the request of art dealer Sidney Janis for a gallery exhibition Acquired by the Philadelphia Museum of Art in 1998 93 1953 Selected for sale at auction to benefit a friend of Duchamp in Paris Location unknown 1963 Made by Ulf Linde for an exhibition in Stockholm Signed by Duchamp in 1964 Donated to Moderna Museet in 1965 94 1964 Galleria Schwarz edition Eight versions made for sale 1 8 Bought by the San Francisco Museum of Modern Art in 1998 95 2 8 Bought by Tate Modern in London in 1999 96 3 8 Bought by the National Gallery of Canada in 1971 97 4 8 Bought by an unnamed collector in 2002 5 8 Bought by Dimitris Daskalopoulos in 1999 for 1 76 million a record high price at the time for a Duchamp work 98 99 6 8 Bought by the National Museum of Modern Art Kyoto in 1987 100 7 8 In the collection of Musee Maillol in Paris 8 8 Bought by Indiana University Art Museum in 1971 101 Two artist s proofs Duchamp s Bought by the Musee National d Art Moderne in Paris in 1986 102 Schwarz s Bought by an unnamed collector in 2002 for 1 08 million 103 Two museum versions I II Donated to the Israel Museum in Jerusalem in 1972 104 II II Donated to the National Gallery of Modern Art in Rome in 1997 Prototype version Bought by Andy Warhol in 1973 Bought by Dakis Joannou from Warhol s estate for 65 750 in 1988 105 See also editList of works by Marcel Duchamp Found object Fountain Archive God sculpture Art intervention Transgressive art Apolinere Enameled Tulip Hysteria Co ordinating America sculpture by Maurizio CattelanReferences edit a b Tomkins Duchamp A Biography p 186 a b Martin Tim 1999 Essential Surrealists Bath Dempsey Parr p 42 ISBN 1 84084 513 9 a b c d e f g h i Fountain Marcel Duchamp 1917 replica 1964 tate org uk Tate Retrieved 5 October 2018 a b Gavin Parkinson The Duchamp Book Tate Essential Artists Series Harry N Abrams 2008 p 61 ISBN 1854377663 a b c d Dalia Judovitz Unpacking Duchamp Art in Transit University of California Press 1998 pp 124 133 ISBN 0520213769 a b c Cabanne P amp Duchamp M 1971 Dialogues with Marcel Duchamp Archived 15 November 2017 at the Wayback Machine a b An Overview of the Seventeen Known Versions of Fountain 2007 Duchamp and the pissoir taking sexual politics of the art world TheGuardian com 7 November 2014 Hustvedt Siri 2019 03 29 When will the art world recognise the real artist behind Duchamp s Fountain The Guardian ISSN 0261 3077 Retrieved 2019 03 31 a b c d e Camfield William A 1989 Marcel Duchamp Fountain Houston TX Houston Fine Art Press p 183 ISBN 0939594102 LCCN 87028248 For a recent analysis of the reception of this story see Krajewski Michael Beuys Duchamp Two Stories Two Artist Legends In Beuys amp Duchamp Artists of the Future Magdalena Holzhey Katharina Neuburger Kornelia Roder eds Krefelder Kunstmuseen Berlin 2021 p 337 345 ISBN 978 3 7757 5068 4 Arturo Schwarz The complete works of Marcel Duchamp New York Delano Greenidge 2000 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 2006 Dissertations are available from ProQuest AAI3211072 Hopkins David Marcel Duchamp and Max Ernst The Bride Shared Volume 21 of Clarendon studies in the history of art Clarendon Press 1998 p 74 ISBN 0198175132 Biro Matthew The Dada Cyborg Visions of the New Human in Weimar Berlin G Reference Information and Interdisciplinary Subjects Series University of Minnesota Press 2009 p 27 ISBN 0816636192 Catalogue of the First Annual Exhibition of the Society of Independent Artists Sue Roe In Montparnasse The Emergence of Surrealism in Paris from Duchamp to Dali Penguin UK Jun 21 2018 ISBN 0241976596 Dagen Philippe Duchamp piege l avant garde Le Monde 17 August 2006 French a b c d e f g h The Blind Man Vol 2 1917 p 5 Current opinion Vol LX No 6 June 1916 p 431 Literary digest New York Current Literature Pub Co 1913 1925 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 a b Adcock Craig Duchamp s Eroticism A Mathematical Analysis Dada Surrealism 16 1987 149 167 Iowa Research Online ISSN 0084 9537 Tomkins Duchamp A Biography p 181 a b c Saltz Jerry February 21 2006 Idol Thoughts The Village Voice Archived November 12 2023 at the Wayback Machine Cabanne Dialogs with Marcel Duchamp p 55 Levine and Halle Sherrie and Howard 1992 Fountain After Duchamp 1 6 La Fortune After Duchamp 1 6 La Fortune After Man Ray 1 6 Grand Street 1 42 81 95 doi 10 2307 25007559 JSTOR 25007559 Retrieved 26 August 2021 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 Unsigned review His Art Too Crude for Independents The New York Herald 14 April 1917 cited in Camfield 1989 op cit 27 Cabanne Pierre amp Duchamp Marcel Dialogues With Marcel Duchamp Hudson 1971 translated from French by Ron Padgett Da Capo Press archive org Tomkins Duchamp A Biography p 185 Naumann Francis M The Recurrent Haunting Ghost Essays on the Art Life and Legacy of Marcel Duchamp New York 2012 pp 70 81 a b c d Guillaume Apollinaire Le Cas de Richard Mutt Mercure de France 16 June 1918 Gallica Bibliotheque Nationale de France Hubregtse Menno 2009 Robert J Coady s The Soil and Marcel Duchamp s Fountain Taste Nationalism Capitalism and New York Dada Revue d art canadienne Canadian Art Review 34 2 28 42 doi 10 7202 1069487ar JSTOR 42630803 Quoted in Hubregtse Robert J Coady s The Soil and Marcel Duchamp s Fountain 32 a b Marcel Duchamp to Suzanne 11 April 1917 Jean Crotti papers 1913 1973 bulk 1913 1961 Archives of American Art Smithsonian Institution a b c d Gammel Irene 2002 Baroness Elsa Gender Dada and Everyday Modernity Cambridge The MIT Press pp 222 227 ISBN 0 262 07231 9 a b Marcel Duchamp Affectionately Marcel The Selected Correspondence of Marcel Duchamp ed Francis M Naumann and Hector Obalk Ghent Ludion Press 2000 p 47 Robert Reiss My Baroness Elsa von Freytag Loringhoven in New York Dada edited by Rudolf E Kuenzli New York Willis Locker amp Owens 1986 pages 81 101 Tate Fountain Marcel Duchamp 1917 replica 1964 Tate Retrieved 2020 07 26 a b David M Lubin Grand Illusions American Art and the First World War Oxford University Press 2016 ISBN 0190218622 Francis M Naumann New York Dada 1915 23 New York Harry N Abrams 1994 p 239 note 17 Marcel Duchamp as Rrose Selavy philamuseum org Retrieved 2023 08 09 Gammel Irene 2002 Baroness Elsa doi 10 7551 mitpress 1517 001 0001 ISBN 9780262273435 God philamuseum org Retrieved 2023 08 09 Thill Vanessa 2018 09 18 Elsa von Freytag Loringhoven the Dada Baroness Who Invented the Readymade before Duchamp Artsy Retrieved 2023 08 09 a b c Spalding Julian 2023 Art Exposed Pallas Athene pp 131 137 The Jackdaw Marcel Duchamp s Fountain he lied Retrieved 2024 03 20 Quoted in Gayford Martin 16 February 2008 The practical joke that launched an artistic revolution The Daily Telegraph London p 10 at 11 Archived from the original on 2022 01 12 Franklin Clarkin Two Miles of Funny Pictures Boston Evening Transcript 25 April 1917 William A Camfield Marcel Duchamp s Fountain Its History and Aesthetics in the Context of 1917 Part 1 Dada Surrealism 16 1987 pp 64 94 A Museum That is Not www e flux com Retrieved 2020 08 14 Duchamp Marcel Boite en valise The box in a valise Item held by National Gallery of Australia Retrieved 2020 08 14 MoMA org Interactives Exhibitions 1999 Museum as Muse Duchamp www moma org Retrieved 2020 08 14 From or by Marcel Duchamp or Rrose Selavy Cleveland Museum of Art 31 October 2018 Martin Tim 1999 Essential Surrealists Bath Dempsey Parr pp 42 47 ISBN 1 84084 513 9 An Overview of the Seventeen Known Versions of Fountain www cabinetmagazine org Fall 2007 Retrieved 2022 01 02 Essay on Fountain Archived 2004 10 12 at the Wayback Machine Funcke Bettina 2013 Not Objects so much as Images PDF p 279 permanent dead link See Praeger Dave 2007 Poop Culture How America is Shaped by its Grossest National Product Los Angeles Calif Feral House ISBN 978 1 932595 21 5 a b Hicks Stephen R C 2004 Explaining Postmodernism Skepticism and Socialism from Rousseau to Foucault Tempe AZ Scholargy Press p 196 ISBN 1 59247 646 5 Rescher Nicholas 2015 A Journey through Philosophy in 101 Anecdotes University of Pittsburgh Press p 223 ISBN 978 0 8229 8044 5 Julia Dur Glasswanderers If that s art I m a Hottentott Tout fait Vol 2 Issue 5 April 2003 Succession Marcel Duchamp Francis M Naumann Beth Venn Making mischief Dada invades New York Harry N Abrams Whitney Museum of American Art 1997 p 20 Hahn Otto Marcel Duchamp L Express Paris No 684 23 July 1964 p 22 Quoted in Arturo Schwarz The Complete Works of Marcel Duchamp New York Abrams 1970 p 466 Rudolf E Kuenzli Dada and Surrealist Film MIT Press 1996 p 47 ISBN 026261121X Duchamp s urinal tops art survey BBC News 1 December 2004 Retrieved 5 October 2018 a b Hensher Philip 20 February 2008 The loo that shook the world Duchamp Man Ray Picabia The Independent London pp 2 5 Perry Grayson 2016 Playing to the Gallery Penguin Books p 46 ISBN 978 0 141 97961 8 Kendell Geers Conceptual Artist www onepeople com Retrieved 5 October 2018 Blacklock Mark 26 June 2003 Art attacks The Daily Telegraph Archived from the original on 2022 01 12 Retrieved 9 May 2013 Arets storsta konsthandelse Archived 17 May 2011 at the Wayback Machine Tate focus for artistic debate Press Association referred to on the website of the Humanities Advanced Technology amp Information Institute University of Glasgow 21 May 2000 Archived from the original on 21 December 2002 Retrieved 17 February 2008 Pierre Pinoncelli This man is not an artist at infoshop org Archived 4 December 2014 at the Wayback Machine Man held for hitting urinal work BBC News 6 January 2006 Retrieved 5 October 2018 Revue Internationale du Droit d Auteur Issues 197 198 Association francaise pour la diffusion du droit d auteur national et international 2003 p 30 SHERRIE LEVINE MAYHEM whitney org Retrieved 2020 08 14 Fountain Buddha Museo Jumex Retrieved 2020 08 14 Levine and Halle Sherrie and Howard 1992 Fountain After Duchamp 1 6 La Fortune After Man Ray 1 6 Grand Street 42 1 81 95 doi 10 2307 25007559 JSTOR 25007559 Retrieved 28 August 2021 Fountain Buddha Sherrie Levine The Broad www thebroad org Retrieved 2020 08 14 John Baldessari Repository Orange Blue and Repository Red Green 2002 Phillips Retrieved 2020 08 14 Chun Kimberly 2013 08 15 Approach of Burning Man sparks an outbreak of art SFGate Retrieved 2020 08 14 Greenberger Alex 2016 02 16 Mike Bidlo at Francis M Naumann Fine Art ARTnews com Retrieved 2020 08 14 Mike Bidlo Not Duchamp Fountain and Bottle Rack Francis M Naumann Fine Art Artsy www artsy net Retrieved 2020 08 14 Marcel Duchamp Fountain An Homage ARTEIDOLIA Retrieved 2020 08 14 Fountain An Homage at Francis M Naumann Fine Art artnet News 2017 04 11 Retrieved 2020 08 14 Marcel Duchamp FOUNTAIN An Homage Francis M Naumann Fine Art Artsy www artsy net Retrieved 2020 08 14 Winthrop Sargeant Dada s Daddy A new tribute is paid to Duchamp pioneer on nonsense and nihilism Life 28 April 1952 pp 100 111 a b c d Girst Thomas April 2003 Ab Using Marcel Duchamp The concept of the Readymade in post War and contemporary American art Tout fait The Marcel Duchamp Studies Online Journal 5 Alan Young Dada and After Extremist Modernism and English Literature Manchester University Press 1983 p 202 ISBN 071900943X Duchamp in Hans Richter Dada Art and Anti Art New York McGraw Hill 1965 pp 207 208 Hans Richter Begegnungen von Dada bis Heute Koln DuMont pp 155ff Rosalind Constable New York s Avant garde and How It Got There cited in Jennifer Gough Cooper and Jacques Caumont Ephemerides on and about Marcel Duchamp and Rrose Selavy 1887 1968 in Pontus Hulten ed Marcel Duchamp Cambridge MIT Press 1993 entry for May 17 1964 Fountain Philadelphia Museum of Art Retrieved 2022 09 03 Fountain Moderna Museet Retrieved 2022 09 03 Marcel Duchamp Fountain 1917 1964 San Francisco Museum of Modern Art Retrieved 2022 09 03 Fountain Marcel Duchamp 1917 replica 1964 Tate Modern Retrieved 2022 09 03 Fountain National Gallery of Canada Retrieved 2022 09 03 Francis M Naumann The Art Defying the Art Market Tout fait The Marcel Duchamp Studies Online Journal vol 2 5 April 2003 Carter B Horsley Contemporary Art amp 14 Duchamp Readymades The City Review 2002 Fountain Independent Administrative Institution National Museum of Art Retrieved 2022 09 03 Fountain Indiana University Sidney and Lois Eskenazi Museum of Art Retrieved 2022 09 03 Fontaine Centre Pompidou Retrieved 2022 09 03 Kamien Kazhdan Remaking the Readymade p 280 Fountain The Israel Museum Jerusalem Retrieved 2022 09 03 Kamien Kazhdan Remaking the Readymade p 274 Notes edit The Blind Man Vol 2 May 1917 New York City Cabanne Pierre 1979 1969 Dialogs with Marcel Duchamp in French S l Da Capo Press ISBN 0 306 80303 8 Gammel Irene Baroness Elsa Gender Dada and Everyday Modernity Cambridge MA MIT Press 2002 Hubregtse Menno 2009 Robert J Coady s The Soil and Marcel Duchamp s Fountain Taste Nationalism Capitalism and New York Dada Revue d art canadienne Canadian Art Review 34 2 28 42 doi 10 7202 1069487ar JSTOR 42630803 Kamien Kazhdan Adina 2018 Remaking the Readymade Duchamp Man Ray and the Conundrum of the Replica Routledge p 280 Kleiner Fred S 2006 Gardner s Art Through the Ages The Western Perspective Belmont Calif Thomson Wadsworth ISBN 0 534 63640 3 Marquis Alice Goldfarb 2002 Marcel Duchamp The Bachelor Stripped Bare A Biography Minneapolis MFA Publications MFA Publications ISBN 0 87846 644 4 Tomkins Calvin 1996 Duchamp A Biography New York N Y Henry Holt and Company ISBN 0 8050 5789 7 Further reading editBetacourt Michael 2003 The Richard Mutt case Looking for Marcel Duchamp s Fountain Art Science Research Laboratory Archived from the original on 1 March 2006 West Patrick 13 December 2004 He was just taking the piss Observations on Duchamp and his urinal New Statesman Schwarz Arturo The Complete Works of Marcel Duchamp revised and expanded edition New York 1997 no 345 pp 648 50 Kuenzli Rudolf E Naumann Francis M Marcel Duchamp Artist of the Century Issue 16 of Dada surrealism MIT Press 1991 ISBN 0262610728 Adcock Craig Marcel Duchamp s Notes from the Large Glass An N Dimensional Analysis Ann Arbor Michigan UMI Research Press 1983 29 39 ISBN 0835714543 Sidney Janis Gallery Challenge and Defy Extreme Examples by XX Century Artists French and American The New York 57th Street Journal 25 September 1950External links edit nbsp Wikimedia Commons has media related to Fountain Duchamp Fountain Tout Fait Marcel Duchamp Studies Online journal Duchamp s Fountain Smarthistory at Khan Academy Duchamp and the Ready Mades Smarthistory at Khan Academy Duchamp and the Fountain November December galley 4 9 15 Retrieved from https en wikipedia org w index php title Fountain Duchamp amp oldid 1217938003, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.