maszyny: Fountain (Duchamp)

Evidence: 100 • authority: 72

Fountain was a readymade sculpture attributed to Marcel Duchamp in 1917, consisting of a porcelain urinal signed "R. Mutt". The work is regarded by art historians and theorists of the avant-garde as a major landmark in 20th-century art. In April 1917, an ordinary piece of plumbing was submitted for the inaugural exhibition of the Society of Independent Artists, 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." In Duchamp's presentation, the urinal's orientation was altered from its usual positioning. Fountain was not rej…

Evidence: 69 • authority: 72

A found object (a calque from the French objet trouvé), or found art, is art created from undisguised, but often modified, items or products that are not normally considered materials from which art is made, often because they already have a non-art function. Pablo Picasso first publicly utilized the idea when he pasted a printed image of chair caning onto his painting titled Still Life with Chair Caning (1912). Marcel Duchamp is thought to have perfected the concept several years later when he made a series of readymades, consisting of completely unaltered everyday objects selected by Duchamp and designated as art. The most famous example is Fountain (1917), a standard urinal purchased fro…

Evidence: 52 • authority: 88

Dada Meets Dixieland: Marcel Duchamp Explains <i>Fountain</i>. Abstract In a 1953 recorded conversation with Harriet, Carroll, and Sidney Janis that was never published, Marcel Duchamp gave his earliest and most detailed description of the origin and submission of the readymade Fountain to the first exhibition of the Society of Independent Artists in 1917. In addition to featuring several notable revelations about the Fountain episode, the interview is also remarkable for the light it sheds on another nearly contemporary account of the story of Fountain, published in 1956 in the book Modern Art USA by the art and music historian Rudi Blesh. Passionate advocates for Ragtime and the Dixieland…

Evidence: 52 • authority: 88

Gender Provocation Made by Marcel Duchamp. This essay examines the gender aspects in Marcel Duchamp’s conceptual oeuvre, which have long been partially or completely neglected in the Duchamp literature. The analysis focuses on the well-known readymade, called Fountain (1917/64), which became the symbolic object of the very beginning of the conceptual art paradigm. My hypothesis is that Duchamp’s conceptual work, mixing up the logic of circular arguments with humor and irony, can be interpreted as an ‘avant-la-lettre’ gender provocation, confronting interpreters not only with a gender task —understanding and defining our social gender roles, tasks and desires facing the already existing poss…

Evidence: 43 • authority: 80

7 Christian Bök on Marcel Duchamp and Elsa von Freytag-Loringhoven, “Fountain” (1917)

Evidence: 43 • authority: 80

on Marcel Duchamp and Elsa von Freytag-Loringhoven, “Fountain” (1917)

Evidence: — • authority: 72

The readymades of Marcel Duchamp are ordinary manufactured objects that the artist selected and modified, as an antidote to what he called "retinal art". By simply choosing the object (or objects) and repositioning or joining, titling and signing it, the found object became art. Duchamp was not interested in what he called "retinal art"—art that was only visual—and sought other methods of expression. As an antidote to retinal art he began creating readymades in 1914, when the term was commonly used in the United States to describe manufactured items to distinguish them from handmade goods. He selected the pieces on the basis of "visual indifference", and the selections reflect his sense of…

Evidence: — • authority: 72

L.H.O.O.Q. (French pronunciation: [ɛl aʃ o o ky]) is a work of art by Marcel Duchamp. First conceived in 1919, the work is one of what Duchamp referred to as readymades, or more specifically a rectified (i.e. altered) ready-made. The readymade involves taking mundane, often utilitarian objects not generally considered to be art and transforming them, by adding to them, changing them, or (as in the case of his work Fountain) simply renaming and reorienting them and placing them in an appropriate setting. In L.H.O.O.Q. the found object (objet trouvé) is a cheap postcard reproduction of Leonardo da Vinci's early 16th-century painting Mona Lisa onto which Duchamp drew a moustache and beard in p…

Evidence: — • authority: 72

Henri-Robert-Marcel Duchamp (28 July 1887 – 2 October 1968) was a French-American artist, chess player, and inventor who played a key role in the development of the avant-garde in the United States and in New York City, where he spent the last 25 years of his life. Duchamp is notable for his work of anti-art Fountain, where he signed the name "R. Mutt 1917" on a urinal. For his talk at the American Federation of the Arts in Houston, "On the Creative Act", for which he labeled himself a 'mere artist', Duchamp said, "Let us consider two important factors, the two poles of the creation of art: the artist, on the one hand, and on the other the spectator who later becomes the posterity...if we g…

Evidence: — • authority: 80

What was and was not (an unhappy readymade): Marcel Duchamp in Argentina, 1918–19

Evidence: — • authority: 80

The Artist Readymade: Marcel Duchamp and the Société Anonyme