LaurieAnnie's photos with the keyword: Dada

Bottlerack Marcel Duchamp, American (born France), 1887 - 1968 Date: 1961 (replica of 1914 original) Medium: Galvanized iron Dimensions: 19 5/8 x 16 1/8 inches (49.8 x 41 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Curatorial Department: Modern Art Object Location: Gallery 182, Modern and Contemporary Art, first floor (d’Harnoncourt Gallery) Accession Number: 1998-4-23 Credit Line: Gift of Jacqueline, Paul, and Peter Matisse in memory of their mother, Alexina Duchamp, 1998 Text from: www.philamuseum.org/collections/permanent/92377.html?mulR=1459777721|215

Apolinère Enameled Marcel Duchamp, American (born France), 1887 - 1968 Date: 1916-17 Medium: Gouache and graphite on painted tin, mounted on cardboard Dimensions: 9 5/8 x 13 3/8 inches (24.4 x 34 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Curatorial Department: Modern Art Object Location: Gallery 182, Modern and Contemporary Art, first floor (d’Harnoncourt Gallery) Accession Number: 1950-134-73 Credit Line: The Louise and Walter Arensberg Collection, 1950 Label: Duchamp added pencil, paint, and cardboard to a painted tin advertisement for Sapolin enamel, an industrial paint, to create this “assisted” readymade. The sign’s manipulated lettering, a pun on the name of his friend Guillaume Apollinaire, the French writer and art critic, wryly calls attention to the readymade’s implicit critique of traditional painting. Additional information: Publication- Twentieth-Century Painting and Sculpture in the Philadelphia Museum of Art The commonplace objects that Duchamp chose as "Readymade" works of art epitomized the artist's belief that art should go beyond the visual and appeal to the mind as well as the senses. Duchamp began signing and giving titles to mass-produced items after he moved to New York in 1915, beginning with a snow shovel purchased in a hardware store. With Hidden Noise marks the transition from Duchamp's signed objects to more elaborate works, which Duchamp called "assisted Readymades." Another assisted Readymade, Apolinère Enameled, was a humorous homage to his friend the poet Guillaume Apollinaire. The tin sign, which Duchamp probably obtained from a paint store, was an advertisement for Sapolin enamel, a brand of industrial paint commonly used on radiators. The artist carefully manipulated the lettering in the commercially printed plaque, obscuring the S in Sapolin and adding new letters in white paint to evoke the poet's name, albeit intentionally misspelled. Duchamp also delicately shaded in pencil the reflection of the little girl's hair in the mirror. Twentieth Century Painting and Sculpture in the Philadelphia Museum of Art (2000), p. 48. Text from: www.philamuseum.org/collections/permanent/51563.html?mulR=1074785298|1

Fountain Marcel Duchamp, American (born France), 1887 - 1968 Date: 1950 (replica of 1917 original) Medium: Porcelain urinal Dimensions: 12 x 15 x 18 inches (30.5 x 38.1 x 45.7 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Curatorial Department: Modern Art Object Location: Currently not on view Accession Number: 1998-74-1 Credit Line: 125th Anniversary Acquisition. Gift (by exchange) of Mrs. Herbert Cameron Morris, 1998 Label: Fountain is among the most infamous artworks of the twentieth century. Yet, the original was lost shortly after it was submitted to the Society of Independent Artists’ first exhibition in April 1917 and rejected by the hanging committee. The work became known later as an icon of New York Dada primarily through replicas, which Duchamp created first in miniature for his Box in a Valise (1935–41, Philadelphia Museum of Art, 1950-134-934). Then in 1950, for the exhibition Challenge and Defy at the Sidney Janis Gallery, he authorized Janis to purchase this urinal secondhand in Paris and added his original inscription. This was the version of Fountain seen by Cage, Rauschenberg, and many others in exhibitions throughout the 1950s and 1960s. Text from: www.philamuseum.org/collections/permanent/92488.html?mulR=930954174|218

Fountain Marcel Duchamp, American (born France), 1887 - 1968 Date: 1950 (replica of 1917 original) Medium: Porcelain urinal Dimensions: 12 x 15 x 18 inches (30.5 x 38.1 x 45.7 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Curatorial Department: Modern Art Object Location: Currently not on view Accession Number: 1998-74-1 Credit Line: 125th Anniversary Acquisition. Gift (by exchange) of Mrs. Herbert Cameron Morris, 1998 Label: Fountain is among the most infamous artworks of the twentieth century. Yet, the original was lost shortly after it was submitted to the Society of Independent Artists’ first exhibition in April 1917 and rejected by the hanging committee. The work became known later as an icon of New York Dada primarily through replicas, which Duchamp created first in miniature for his Box in a Valise (1935–41, Philadelphia Museum of Art, 1950-134-934). Then in 1950, for the exhibition Challenge and Defy at the Sidney Janis Gallery, he authorized Janis to purchase this urinal secondhand in Paris and added his original inscription. This was the version of Fountain seen by Cage, Rauschenberg, and many others in exhibitions throughout the 1950s and 1960s. Text from: www.philamuseum.org/collections/permanent/92488.html?mulR=930954174|218

Bicycle Wheel Marcel Duchamp, American (born France), 1887 - 1968 Date: 1964 (replica of 1913 original) Medium: Wheel, painted wood Dimensions: Diameter: 25 1/2inches (64.8cm) Base height: 23 1/2 inches (59.7 cm) Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Curatorial Department: Modern Art Object Location: Gallery 182, Modern and Contemporary Art, first floor (d’Harnoncourt Gallery) Accession Number: 1964-175-1 Credit Line: Gift of the Galleria Schwarz d'Arte, Milan, 1964 Text from: www.philamuseum.org/collections/permanent/59928.html?mulR=1954276234|3

Marcel Duchamp. (American, born France. 1887-1968). To Be Looked at (from the Other Side of the Glass) with One Eye, Close to, for Almost an Hour. Buenos Aires 1918. Oil, silver leaf, lead wire, and magnifying lens on glass (cracked), mounted between panes of glass in a standing metal frame, 20 1/8 x 16 1/4 x 1 1/2" (51 x 41.2 x 3.7 cm), on painted wood base, 1 7/8 x 17 7/8 x 4 1/2" (4.8 x 45.3 x 11.4 cm), Overall 22" (55.8 cm) high. Katherine S. Dreier Bequest. Gallery label text 2006 Inscribed in French on a strip of metal glued across the approximate center of this work are the words, "To be looked at (from the other side of the glass) with one eye, close to, for almost an hour," suggesting that viewers look through the lens Duchamp mounted between two panes of glass haloed in concentric circles. Peering through the convex lens "for almost an hour" is supposed to have a hallucinatory effect, as the view is dwarfed, flipped, and otherwise distorted. Duchamp delighted in the fact that the glass shattered while being transported. Text from: www.moma.org/collection/browse_results.php?object_id=78993

Marcel Duchamp. (American, born France. 1887-1968). In Advance of the Broken Arm. August 1964 (fourth version, after lost original of November 1915). Wood and galvanized-iron snow shovel, 52" (132 cm) high. Gift of The Jerry and Emily Spiegel Family Foundation Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Marcel Duchamp. (American, born France. 1887-1968). In Advance of the Broken Arm. August 1964 (fourth version, after lost original of November 1915). Wood and galvanized-iron snow shovel, 52" (132 cm) high. Gift of The Jerry and Emily Spiegel Family Foundation Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Marcel Duchamp. (American, born France. 1887-1968). Bicycle Wheel. New York 1951 (third version, after lost original of 1913). Metal wheel mounted on painted wood stool, 51 x 25 x 16 1/2" (129.5 x 63.5 x 41.9 cm). The Sidney and Harriet Janis Collection. Gallery label text Dada, June 18–September 11, 2006 Although Duchamp had collected manufactured objects in his studio in Paris, it was not until he came to New York that he identified them as a category of art, giving the English name "Readymade" to any object purchased "as a sculpture already made." When he modified these objects, for example by mounting a bicycle wheel on a kitchen stool, he called them "Assisted Readymades." Duchamp later recalled that the original Bicycle Wheel was created as a "distraction": "I enjoyed looking at it, just as I enjoy looking at the flames dancing in a fireplace." Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 87 Bicycle Wheel is Duchamp's first Readymade, a class of artworks that raised fundamental questions about artmaking and, in fact, about art's very definition. This example is actually an "assisted Readymade": a common object (a bicycle wheel) slightly altered, in this case by being mounted upside-down on another common object (a kitchen stool). Duchamp was not the first to kidnap everyday stuff for art; the Cubists had done so in collages, which, however, required aesthetic judgment in the shaping and placing of materials. The Readymade, on the other hand, implied that the production of art need be no more than a matter of selection—of choosing a preexisting object. In radically subverting earlier assumptions about what the artmaking process entailed, this idea had enormous influence on later artists, particularly after the broader dissemination of Duchamp's thought in the 1950s and 1960s. The components of Bicycle Wheel, being mass-produced, are anonymous, identical or similar to countless others. In addition, the fact that this version of the piece is not the original seems inconsequential, at least in terms of visual experience. (Having lost the original Bicycle Wheel, Duchamp simply remade it almost four decades later.) Duchamp claimed to like the work's appearance, "to feel that the wheel turning was very soothing." Even now, Bicycle Wheel retains an absurdist visual surprise. Its greatest power, however, is as a conceptual proposition. Publication excerpt Anne D'Harnoncourt and Kynaston McShine, eds., Marcel Duchamp, New York: The Museum of Modern Art, 1973, p. 270 The original Bicycle Wheel was left behind in Paris when Duchamp sailed to New York in 1915. He made a replica for his New York studio around 1916, which later also disappeared. Duchamp described this work in an interview with Pierre Cabanne: "...when I put a bicycle wheel on a stool the fork down, there was no idea of a 'readymade,' or anything else. It was just a distraction. I didn't have any special reason to do it, or any intention of showing it or describing anything." And he remarked to Arturo Schwarz: "To see that wheel turning was very soothing, very comforting, a sort of opening of avenues on other things than material life of every day. I liked the idea of having a bicycle wheel in my studio. I enjoyed looking at it, just as I enjoy looking at the flames dancing in a fireplace." Publication excerpt Three Generations of Twentieth-Century Art: The Sidney and Harriet Janis Collection of The Museum of Modern Art, New York: The Museum of Modern Art, 1972, p. 48 The Bicycle Wheel was the first of Marcel Duchamp's Readymades and is probably the best known. Although, a year or two earlier, Cubist collage had introduced commonplace materials into art, the Readymades constituted a radical attempt to create anti-art. By the simple act of mounting a wheel on a stool, Duchamp reduced the heroic art-making process to one of mere selection: any mass-p