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752:(1996), after describing how various readymades are presented or displayed: "This decontextualization of the object's functional place draws attention to the creation of its artistic meaning by the choice of the setting and positioning ascribed to the object." He goes on to explain the importance of naming the object (ascribing a title). At least three factors came into play: the choice of object, the title, and how it was modified, if at all, from its 'normal' position or location. By virtue of placing a urinal on a pedestal in an art exhibition, the illusion of an artwork was created.
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452:, originally titled "le Bouddha de la salle de bain" (Buddha of the bathroom), represented a sitting Buddha. The motive invoked for its refusal at the Independents were that the entry was (1) immoral and vulgar, (2) it was plagiarism, a commercial piece of plumbing. R. Mutt responded, according to Apollinaire, that the work was not immoral since similar pieces could be seen every day exposed in plumbing and bath supply stores. On the second point, R. Mutt pointed out that the fact
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fixture, mounted on a pedestal, which he submitted as a 'work of art.' Some of the directors wanted it to remain, in view of the society's ruling of 'no jury' to decide on the merits of the 2500 paintings and sculptures submitted. Other directors maintained that it was indecent at a meeting and the majority voted it down. As a result of this Marcel
Duchamp retired from the Board. Mr. Mutt now wants more than his dues returned. He wants damages."
511:, and whose address is partially discernible on the paper entry ticket in the Stieglitz photograph. On one hand, the fact that Duchamp wrote 'sent' not 'made', does not indicate that someone else created the work. Duchamp's female alter ego has been discredited as the inception of Rrose Sélavy occurred in the 1920s, years after the initial exhibition. Furthermore, there is no documentary or testimonial evidence that suggests von Freytag created
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852:] an image not shaped by the hands of an artist. Fountain brings us into contact with an original that is still an original but that also exists in an altered philosophical and metaphysical state. It is a manifestation of the Kantian sublime: A work of art that transcends a form but that is also intelligible, an object that strikes down an idea while allowing it to spring up stronger.
487:: "Une de mes amies sous un pseudonyme masculin, Richard Mutt, avait envoyé une pissotière en porcelaine comme sculpture" ("One of my female friends under a masculine pseudonym, Richard Mutt, sent in a porcelain urinal as a sculpture.") Duchamp never identified his female friend, but three candidates have been proposed: an early appearance of Duchamp's female alter ego
542:(mother), taking into consideration the geo-political climate at the time and the tension between Germany and the US. Glyn Thompson argues this was Loringhoven's attempt at political commentary. Thompson also disputes Duchamp's own claim (that he made in 1966 to Otto Hanh) of the urinal's origins coming from the
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A Philadelphian, Richard Mutt, member of the society, and not related to our friend of the "Mutt and Jeff" cartoons, submitted a bathroom fixture as a "work of art." The official record of the episode of its removal says: "Richard Mutt threatens to sue the directors because they removed the bathroom
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was simply placed behind a partition and, for the duration of the exhibition, I didn't know where it was. I couldn't say that I had sent the thing, but I think the organizers knew it through gossip. No one dared mention it. I had a falling out with them, and retired from the organization. After the
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They are considered to be an "homage to
Duchamp's renowned readymade. By doing so, Levine is re-evaluating 3D objects within the realm of appropriation, like the readymades, to mass-produced photographic art. Adding to Duchamp's audacious move, Levine turns his gesture back into an "art object" by
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actively stages. On the one hand, there is the mirror-effect of the drawing and the etching, which although they are almost identical visually, involve an active switch from one artistic medium to the other. On the other hand, there is the internal mirrorical return of the image itself, since this
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plumbing retailer as
Thompson discovered they could not have stocked this type of urinal. The only place it could be purchased at that time was in Philadelphia, where Loringhoven was residing at the time. Thompson uses this research to claim that the signature could not have been inspired by the
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Pop Art is a return to "conceptual" painting, virtually abandoned, except by the
Surrealists, since Courbet, in favor of retinal painting... If you take a Campbell soup can and repeat it 50 times, you are not interested in the retinal image. What interests you is the concept that wants to put 50
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The artist is a not great creator—Duchamp went shopping at a plumbing store. The artwork is not a special object—it was mass-produced in a factory. The experience of art is not exciting and ennobling—at best it is puzzling and mostly leaves one with a sense of distaste. But over and above that,
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and other readymades were rediscovered, Duchamp became a cultural icon in the world of art, exemplified by a "deluge of publications", as
Camfield noted, "an unparalleled example of timing in which the burgeoning interest in Duchamp coincided with exhilarating developments in avant-garde art,
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In a 1964 interview with Otto Hahn, Duchamp suggested he purposefully selected a urinal because it was disagreeable. The choice of a urinal, according to
Duchamp, "sprang from the idea of making an experiment concerned with taste: choose the object which has the least chance of being liked. A
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case. The Tate, which denied that the duo had succeeded in urinating into the sculpture itself, banned them from the premises stating that they were threatening "works of art and our staff." When asked why they felt they had to add to
Duchamp's work, Chai said, "The urinal is there – it's an
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Richter, however, years later claimed those words were not by
Duchamp. Richter had sent Duchamp this paragraph for comment, writing: "You threw the bottle rack and the urinal into their face...," etc. Duchamp simply wrote: "Ok, ça va très bien" ("Ok, that works very well") in the margins.
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was not made by the hand of the artist was unimportant. The importance was in the choice made by the artist. The artist chose an object of every-day life, erased its usual significance by giving it a new title, and from this point of view, gave a new purely esthetic meaning to the object.
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No, not rejected. A work can't be rejected by the
Independents. It was simply suppressed. I was on the jury, but I wasn't consulted, because the officials didn't know that it was I who had sent it in; I had written the name "Mutt" on it to avoid connection with the personal. The
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in New York. When explaining the purpose of his readymade sculpture, Duchamp stated they are "everyday objects raised to the dignity of a work of art by the artist's act of choice." In
Duchamp's presentation, the urinal's orientation was altered from its usual positioning.
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changed the way people view art due to his focus upon "cerebral art" contrary to merely "retinal art", as this was a means to engage prospective audiences in a thought-provoking way as opposed to satisfying the aesthetic status quo "turning from classicism to modernity".
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was authorized by Duchamp in 1950 for an exhibition in New York; two more individual pieces followed in 1953 and 1963, and then an artist's multiple was manufactured in an edition of eight in 1964. These editions ended up in a number of important public collections;
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At the time Duchamp was a board member of the Society of Independent Artists. After much debate by the board members (most of whom did not know Duchamp had submitted it, as he had submitted the work 'under a pseudonym') about whether the piece was or was not art,
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urinal, like the one in 1917, has been rotated ninety degrees. This internal rotation disqualifies the object from its common use as a receptacle, and reactivates its poetic potential as a fountain; that is, as a machine for waterworks. The "splash" generated by
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Arensberg had referred to a 'lovely form' and it does not take much stretching of the imagination to see in the upside-down urinal's gently flowing curves the veiled head of a classic Renaissance Madonna or a seated Buddha or, perhaps more to the point, one of
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while it was exhibited in the MoMA in 1993. He admitted that it was only a technical triumph because he needed to urinate in a tube in advance so he could convey the fluid through a gap between the protective glass. Swedish artist Björn Kjelltoft urinated in
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In defense of the work being art, the piece continues, "The only works of art America has given are her plumbing and her bridges." Duchamp described his intent with the piece was to shift the focus of art from physical craft to intellectual interpretation.
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Whether Mr Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that
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magazine referred to him as "perhaps the world's most eminent Dadaist", Dada's "spiritual leader", "Dada's Daddy" in a lengthy article published 28 April 1952. By the mid-50s his readymades were present in permanent collections of American museums.
741:(2000) suspects that the Stieglitz photograph is a composite of different photos, while other scholars such as William Camfield have never been able to match the urinal shown in the photo to any urinals found in the catalogues of the time period.
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which appeared at the time, and with which everyone was familiar. Thus, from the start, there was an interplay of Mutt: a fat little funny man, and Jeff: a tall thin man... I wanted any old name. And I added Richard . That's not a bad name for a
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Duchamp adamantly asserted that he wanted to "de-deify" the artist. The readymades provide a way around inflexible either-or aesthetic propositions. They represent a Copernican shift in art. Fountain is what's called an "acheropoietoi,"
332:, 118 Fifth Avenue. The artist brought the urinal to his studio at 33 West 67th Street, reoriented it 90 degrees from its originally intended position of use, and wrote on it, "R. Mutt 1917". Duchamp elaborated:
406:. An editorial, possibly written by Wood, accompanying the photograph, entitled "The Richard Mutt Case", made a claim that would prove to be important concerning certain works of art that would come after it:
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1128:. In Neo-Dada they have taken my readymades and found aesthetic beauty in them, I threw the bottle rack and the urinal into their faces as a challenge and now they admire them for their aesthetic beauty.
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virtually all of which exhibited links of some sort to Duchamp". His art was transformed from "a minor, aberrant phenomenon in the history of modern art to the most dynamic force in contemporary art".
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To achieve an orientation resembling the photograph, an additional rotation by 180° about a vertical axis is necessary. The effect of both may be achieved by a rotation of 180° about an inclined axis.
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in 2014: "When he decided that anything could be art he got a urinal and brought it into an art gallery... I find it quite arrogant, that idea of just pointing at something and saying 'That's art.'"
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Gaffney, Peter D, "Demiurgic machines: The mechanics of New York Dada. A study of the machine art of Francis Picabia, Marcel Duchamp, and other members of New York Dada during the period, 1912–1922"
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was not rejected by the committee, since Society rules stated that all works would be accepted from artists who paid the fee, but the work was never placed in the show area. Following that removal,
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that Marcel Duchamp himself would have appreciated. In 1993 Pinoncelli urinated into the piece while it was on display in Nimes, in southern France. Both of Pinoncelli's performances derive from
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in the December 1916 issue. Hubregtse notes that Duchamp's urinal may have been a clever response to Coady's comparison of Crotti's sculpture with "the absolute expression of a—plumber."
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as a readymade because it parodied Robert J. Coady's exaltation of industrial machines as pure forms of American art. Coady, who championed his call for American art in his publication
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is perhaps the best known because the symbolic meaning of the toilet takes the conceptual challenge posed by the readymades to their most visceral extreme. Similarly, philosopher
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This Neo-Dada, which they call New Realism, Pop Art, Assemblage, etc., is an easy way out, and lives on what Dada did. When I discovered the ready-mades I sought to discourage
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The meaning (if any) and intention of both the piece and the signature "R. Mutt", are difficult to pin down precisely. It is not clear whether Duchamp had in mind the German
117:. Sixteen replicas were commissioned from Duchamp in the 1950s and 1960s and made to his approval. Some have suggested that the original work was by the female artist
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elevating its materiality and finish. As a feminist artist, Levine remakes works specifically by male artists who commandeered patriarchal dominance in art history."
483:, but rather assisted in submitting the piece to the Society of Independent Artists for a female friend. In a letter dated 11 April 1917 Duchamp wrote to his sister
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1989:"Fountain", wrote the committee, "may be a very useful object in its place, but its place is not an art exhibition, and it is by no definition, a work of art."
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Mutt comes from Mott Works, the name of a large sanitary equipment manufacturer. But Mott was too close so I altered it to Mutt, after the daily cartoon strip
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The urinal suspended in Marcel Duchamp's studio at 33 West 67th Street, New York, 1917–1918. Two other readymades by Duchamp are visible in the photograph:
558:, the best guess is that it was thrown out as rubbish by Stieglitz, a common fate of Duchamp's early readymades. However, the myth goes that the original
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Revue Internationale du Droit d'Auteur, Issues 197–198, Association française pour la diffusion du droit d'auteur national et international, 2003, p. 30.
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In placing the urinal horizontally it appears more passive, and feminine, while remaining a receptacle designed for the functioning of the male penis.
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was voted the most influential artwork of the 20th century by 500 selected British art world professionals. Second place was afforded to Picasso's
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Structured as an emblem, the visual and linguistic elements set up a punning interplay that helps us to explore further the mechanisms that
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Duchamp did not select just any ready-made object to display. In selecting the urinal, his message was clear: Art is something you piss on.
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Fine Art in 2016. "Bidlo's version is a lovingly handcrafted porcelain copy that he then smashed, reconstituted, and cast in bronze."
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For a recent analysis of the reception of this story, see Krajewski, Michael: "Beuys. Duchamp: Two Stories. Two Artist Legends." In:
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711:(meaning "great mother"). The name R. Mutt could also be a play on its commercial origins or on the famous comic strip of the time,
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signed "R. Mutt". In April 1917, an ordinary piece of plumbing chosen by Duchamp was submitted for the inaugural exhibition of the
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Unsigned review, "His Art Too Crude for Independents", The New York Herald, 14 April 1917 (cited in Camfield, 1989, op.cit., 27)
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argued that Duchamp, who was quite familiar with the history of European art, was obviously making a provocative statement with
423:: "The "Urinal" photograph is really quite a wonder—Everyone who has seen it thinks it beautiful—And it's true—it is. It has an
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717:(making the urinal perhaps the first work of art based on a comic). Duchamp said the R stood for Richard, French slang for "
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Further arguments against Duchamp as author have included that the R. Mutt, signature makes more sense as a German pun on
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Since the photograph taken by Stieglitz is the only image of the original sculpture, there are some interpretations of
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did not appear at the show, those who had expected to see it were disappointed. But the painting likely never existed.
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Several performance artists have attempted to contribute to the piece by urinating in it. South African born artist
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who had submitted it to Duchamp as a friend, but art historians maintain that Duchamp was solely responsible for
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1743:, G – Reference, Information and Interdisciplinary Subjects Series, University of Minnesota Press, 2009, p. 27,
1080:, Francis M. Naumann Fine Art opened "Marcel Duchamp Fountain: An Homage" on April 10, 2017. The show included
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Magdalena Holzhey, Katharina Neuburger, Kornelia Röder, eds., Krefelder Kunstmuseen, Berlin 2021, p. 337-345,
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continued for weeks following the exhibition submission. An article was published in Boston on 25 April 1917:
531:. The piece had been attributed to Schamberg until the Philadelphia Museum of Art adjusted the accreditation.
3728:"Robert J. Coady's The Soil and Marcel Duchamp's Fountain: Taste, Nationalism, Capitalism, and New York Dada"
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2078:"Robert J. Coady's The Soil and Marcel Duchamp's Fountain: Taste, Nationalism, Capitalism, and New York Dada"
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invitation. As Duchamp said himself, it's the artist's choice. He chooses what is art. We just added to it."
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Duchamp drew an ink copy of the 1917 Stieglitz photograph in 1964 for the cover of an exhibition catalogue,
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759:. The illustration appeared as a photographic negative. Later, Duchamp made a positive version, titled
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293:, mixed media. Exhibited Montross Gallery 4–22 April 1916, New York City. Sculpture lost or destroyed
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and "severed forever the traditional link between the artist's labour and the merit of the work".
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1946:"Fountain (After Duchamp: 1-6) La Fortune (After Duchamp: 1-6) La Fortune (After Man Ray: 1-6)"
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1953: "Selected for sale at auction to benefit a friend of Duchamp" in Paris. Location unknown.
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which was on display. However, they were prevented from soiling the sculpture directly by its
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and then in porcelain, for his multiple editions of a miniature museum 'retrospective' titled
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499:(a Dada poet and a close friend of Duchamp, later married to the avant-garde French composer
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217:) (1917). This photograph is reproduced at the top right of one of the plates from Duchamp's
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3429:, in Pontus Hulten, ed., Marcel Duchamp, Cambridge, MIT Press, 1993, entry for May 17, 1964.
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2363:"Elsa von Freytag-Loringhoven, the Dada Baroness Who Invented the Readymade—before Duchamp"
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Franklin Clarkin, "Two Miles of Funny Pictures," Boston Evening Transcript, 25 April 1917.
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Marcel Duchamp arrived in the United States less than two years prior to the creation of
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3237:"Mike Bidlo: Not Duchamp Fountain and Bottle Rack | Francis M. Naumann Fine Art | Artsy"
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which were replicas of some of his most prominent work. The first 1:1 reproduction of
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or 'box in a suitcase', 1935–66. Duchamp carried many of these miniature works within
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was hidden from view during the show. Duchamp resigned from the Board, and "withdrew"
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Eljer Co. Highest Quality Two-Fired Vitreous China Catalogue 1918 Bedfordshire No. 700
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rose to international notoriety in 1993 when, at a show in Venice, he urinated into
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by looking not only at reproductions but this particular photograph. Tomkins notes:
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Quoted in Hubregtse, "Robert J. Coady's The Soil and Marcel Duchamp's Fountain," 32
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The Recurrent, Haunting Ghost: Essays on the Art, Life and Legacy of Marcel Duchamp
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2013:, Hudson, 1971, translated from French by Ron Padgett, Da Capo Press, archive.org
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Dada's Daddy, A new tribute is paid to Duchamp, pioneer on nonsense and nihilism
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Challenge and Defy: Extreme Examples by XX Century Artists, French and American
3810:
3650:
1233:
in 1999 for $ 1.76 million, a record-high price at the time for a Duchamp work.
1190:
1085:
1017:
1006:
915:
826:
555:
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name of J. L. Mott because Duchamp could not have purchased the urinal there.
136:
65:
25:
6045:
5702:
5367:
4977:
4858:
3163:"John Baldessari - Repository (Orange/Blue); and Repository (Red/Green), 2002"
1904:
1761:
Catalogue of the First Annual Exhibition of the Society of Independent Artists
1597:"When will the art world recognise the real artist behind Duchamp's Fountain?"
987:
825:
noted in a February 2008 article that with this single work, Duchamp invented
718:
683:'s work, Tim Martin has argued there were strong sexual connotations with the
419:
In a letter dated 23 April 1917, Stieglitz wrote of the photograph he took of
362:
in protest. For this reason the work was "suppressed" (Duchamp's expression).
7809:
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3549:, Tout-fait: The Marcel Duchamp Studies Online Journal, vol. 2, 5, April 2003
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3558:
2690:
Explaining Postmodernism: Skepticism and Socialism from Rousseau to Foucault
2552:
2465:
Marcel Duchamp's Fountain, Its History and Aesthetics in the Context of 1917
2192:, ed. Francis M. Naumann and Hector Obalk (Ghent: Ludion Press, 2000), p. 47
7774:
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3958:
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3857:
3713:
2152:
1775:
In Montparnasse: The Emergence of Surrealism in Paris, from Duchamp to Dali
1318:
1172:
940:
936:
5465:
3763:
Remaking the Readymade: Duchamp, Man Ray, and the Conundrum of the Replica
745:
urinal—very few people think there is anything wonderful about a urinal."
7752:
7672:
7464:
7345:
7204:
7195:
7011:
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4642:
4558:
4501:
4341:
4059:
3481:
3306:"Marcel Duchamp FOUNTAIN An Homage | Francis M. Naumann Fine Art | Artsy"
2529:"MoMA.org | Interactives | Exhibitions | 1999 | Museum as Muse | Duchamp"
1294:
1213:
1051:
926:
832:
810:
729:
618:
469:
110:
3753:
3117:
3093:
2103:
1969:
1945:
349:. Get it? The opposite of poverty. But not even that much, just R. MUTT.
7394:
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6719:
6642:
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6502:
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4893:
4830:
4487:
4107:
3874:, revised and expanded edition, New York 1997, no. 345, pp. 648–50
1125:
1058:
3893:
Marcel Duchamp's Notes from the Large Glass: An N-Dimensional Analysis
3744:
3727:
3717:
2406:
2094:
1189:
for an exhibition in Stockholm. Signed by Duchamp in 1964. Donated to
1140:
in 1964, though indifferent to the humor or materials of Pop artists:
782:
is thus tied to its "mirrorical return", like the faucet in the title.
7443:
7401:
7266:
6976:
6059:
5814:
5681:
5402:
5353:
5318:
4879:
4306:
3858:"He was just taking the piss: Observations on Duchamp and his urinal"
3109:
2190:
Affectionately, Marcel: The Selected Correspondence of Marcel Duchamp
1961:
1269:
Schwarz's: Bought by an unnamed collector in 2002 for $ 1.08 million.
1186:
1097:
902:
376:
again, behind a partition, and I retrieved it! (Marcel Duchamp, 1971)
69:
2661:
Poop Culture: How America is Shaped by its Grossest National Product
562:
was in fact not thrown out but returned to Richard Mutt by Duchamp.
7534:
5283:
5150:
4508:
4469:
4453:
4439:
4330:
4206:
3427:
Ephemerides on and about Marcel Duchamp and Rrose Sélavy, 1887–1968
2744:, Tout-fait, Vol. 2, Issue 5, April 2003, Succession Marcel Duchamp
1842:, Literary digest. New York: Current Literature Pub. Co., 1913–1925
976:
943:, went to the newly opened Tate Modern and tried to urinate on the
680:
527:(1917), which maintains a similar message and aesthetic to that of
424:
176:
328:, Duchamp purchased a standard Bedfordshire model urinal from the
7042:
6080:
5542:
5157:
4446:
4430:
4416:
3968:
2770:, Paris, No. 684, 23 July 1964, p. 22. Quoted in Arturo Schwarz,
1576:"Duchamp and the pissoir-taking sexual politics of the art world"
1137:
998:
702:
168:
1656:
4364:
3577:. Independent Administrative Institution National Museum of Art
3094:"Fountain (After Duchamp: 1-6) La Fortune (After Man Ray: 1-6)"
2757:, Harry N. Abrams, Whitney Museum of American Art, 1997, p. 20.
1040:
931:
2991:"Pierre Pinoncelli: This man is not an artist" at infoshop.org
1705:(2006). Dissertations are available from ProQuest. AAI3211072.
1164:
magazine. Two of them, including the 1917 original, are lost.
1046:
In 2003 Saul Melman constructed a massively enlarged version,
2201:
Robert Reiss, "My Baroness: Elsa von Freytag-Loringhoven" in
955:
On January 4, 2006, while on display in the Dada show in the
726:
4275:
3598:. Indiana University, Sidney and Lois Eskenazi Museum of Art
1869:, Dada/Surrealism 16 (1987): 149–167, Iowa Research Online,
687:, linked to it being placed horizontally. He goes onto say:
240:. The article included a photo of the piece and a letter by
109:
The work is regarded by art historians and theorists of the
4837:
4371:
4211:
3964:
Duchamp and the Fountain, November, December, galley 4/9/15
97:
3372:
Dada and After: Extremist Modernism and English Literature
1740:
The Dada Cyborg: Visions of the New Human in Weimar Berlin
2837:"The loo that shook the world: Duchamp, Man Ray, Picabia"
2596:"An Overview of the Seventeen Known Versions of Fountain"
2430:"The practical joke that launched an artistic revolution"
1562:"An Overview of the Seventeen Known Versions of Fountain"
848:
3895:, Ann Arbor, Michigan: UMI Research Press, 1983, 29–39,
1136:
Contrary to Richter's quote, Duchamp wrote favorably of
3790:
3773:
Gardner's Art Through the Ages: The Western Perspective
3261:"Marcel Duchamp, Fountain: An Homage « ARTEIDOLIA"
1401:
1399:
3793:
Marcel Duchamp: The Bachelor Stripped Bare A Biography
3425:, cited in Jennifer Gough-Cooper and Jacques Caumont,
3281:""Fountain: An Homage" at Francis M. Naumann Fine Art"
1719:, Volume 21 of Clarendon studies in the history of art
1515:, University of California Press, 1998, pp. 124, 133,
1078:
First Exhibition of the Society of Independent Artists
519:
in her practice, even collaborating with photographer
474:
Portrait of Marcel Duchamp (Sculpture Made to Measure)
291:
Portrait of Marcel Duchamp (Sculpture made to measure)
175:(amongst others) in the creation of an anti-rational,
3909:, The New York 57th Street Journal, 25 September 1950
3841:"The Richard Mutt case: Looking for Marcel Duchamp's
2245:
Grand Illusions: American Art and the First World War
1171:
1950: Signed by Duchamp at the request of art dealer
925:, two performance artists, who in 1999 had jumped on
3357:
Tout-fait: The Marcel Duchamp Studies Online Journal
2686:
1641:. Houston, TX: Houston Fine Art Press. p. 183.
1396:
1043:
with the text: "The Artist is a Fountain", in 2002.
460:
Menno Hubregtse argues that Duchamp may have chosen
390:
which included a photo of the piece and a letter by
6274:
A Sunday Afternoon on the Island of La Grande Jatte
3795:. Minneapolis: MFA Publications: MFA Publications.
3188:"Approach of Burning Man sparks an outbreak of art"
2407:"The Jackdaw – Marcel Duchamp's Fountain… he lied!"
2268:(New York: Harry N. Abrams, 1994), p. 239, note 17.
2158:
Baroness Elsa: Gender, Dada, and Everyday Modernity
1899:
1897:
1895:
1158:have been created, according to a list compiled by
1076:Exactly 100 years to the day of the opening of the
679:Expanding upon the erotic interpretation linked to
3923:, Tout-Fait: Marcel Duchamp Studies Online journal
3838:
3719:Baroness Elsa: Gender, Dada and Everyday Modernity
2907:
2428:
1840:Current opinion, Vol. LX, No. 6, June 1916, p. 431
1116:In 1961, Duchamp wrote a letter to fellow Dadaist
3847:. Art Science Research Laboratory. Archived from
2131:. Jean Crotti papers, 1913–1973, bulk 1913–1961.
1385:
1383:
43:exhibit, with entry tag visible. The backdrop is
7807:
3881:, Issue 16 of Dada surrealism, MIT Press, 1991,
3769:
3725:
3503:"'Fountain', Marcel Duchamp, 1917, replica 1964"
3139:"Fountain (Buddha) - Sherrie Levine | The Broad"
3091:
2217:"'Fountain', Marcel Duchamp, 1917, replica 1964"
2075:
1943:
1892:
578:Duchamp began making miniature reproductions of
380:The New York Dadaists stirred controversy about
3809:
3694:
2741:Glasswanderers, If that’s art, I’m a Hottentott
2718:. University of Pittsburgh Press. p. 223.
2505:"Boîte-en-valise [The box in a valise]"
2426:
1859:
1857:
1483:The Duchamp Book: Tate Essential Artists Series
4076:The Bride Stripped Bare by Her Bachelors, Even
3760:
2830:
2828:
2051:
2049:
2047:
2045:
1795:Dagen, Philippe, "Duchamp piège l'avant-garde"
1717:Marcel Duchamp and Max Ernst: The Bride Shared
1380:
1067:Fractured Fountain (Not Duchamp Fountain 1917)
1020:created bronze copies in 1991 and 1996 titled
384:and its being rejected in the second issue of
7550:
4291:
3984:
3375:, Manchester University Press, 1983, p. 202,
3092:Levine and Halle, Sherrie and Howard (1992).
2716:A Journey through Philosophy in 101 Anecdotes
2658:
2151:
1944:Levine and Halle, Sherrie and Howard (1992).
7213:
7202:
4396:
4385:
4339:
4328:
3561:Contemporary Art & 14 Duchamp Readymades
3423:New York's Avant-garde, and How It Got There
3002:
2066:, Gallica, Bibliothèque Nationale de France.
1866:Duchamp's Eroticism: A Mathematical Analysis
1854:
1821:
1819:
1817:
1815:
1813:
1811:
1809:
1807:
1532:
1530:
1528:
1226:4/8: Bought by an unnamed collector in 2002.
764:
757:Marcel Duchamp: Ready-mades, etc., 1913–1964
736:
735:Rhonda Roland Shearer in the online journal
706:
696:
4467:
3213:"Mike Bidlo at Francis M. Naumann Fine Art"
3210:
2825:
2693:. Tempe, AZ: Scholargy Press. p. 196.
2553:"From or by Marcel Duchamp or Rrose Sélavy"
2042:
1671:Beuys & Duchamp. Artists of the Future.
1632:
1630:
1628:
1626:
1624:
1476:
1474:
1039:created an edition of multicolored ceramic
7557:
7543:
4298:
4284:
3991:
3977:
3817:. New York, N.Y.: Henry Holt and Company.
3732:Revue d'art canadienne/Canadian Art Review
2509:Item held by National Gallery of Australia
2082:Revue d'art canadienne/Canadian Art Review
1505:
1503:
1501:
1499:
1301:from Warhol's estate for $ 65,750 in 1988.
1175:for a gallery exhibition. Acquired by the
1149:
554:was lost. According to Duchamp biographer
316:According to one version, the creation of
96:'s studio, and the photo published in the
3877:Kuenzli, Rudolf E., Naumann, Francis M.,
3743:
2905:
2419:
2147:
2145:
2143:
2141:
2093:
1804:
1753:
1556:
1554:
1525:
856:Others have questioned whether Duchamp's
479:Some have contested that Duchamp created
3346:
3344:
3342:
3340:
2682:
2680:
2390:
2238:
2236:
2129:Marcel Duchamp to Suzanne, 11 April 1917
2008:Cabanne, Pierre, & Duchamp, Marcel,
1636:
1621:
1594:
1471:
997:
877:
296:
284:
269:
255:
226:
198:
150:
20:
2834:
2713:
2469:, Dada/Surrealism 16 (1987): pp. 64–94.
1766:
1537:Cabanne, P., & Duchamp, M. (1971).
1496:
888:Scottish National Gallery of Modern Art
860:really could constitute a work of art.
721:", which according to one critic makes
7808:
3776:. Belmont, Calif.: Thomson Wadsworth.
2755:Making mischief: Dada invades New York
2637:
2574:. Bath: Dempsey Parr. pp. 42–47.
2569:
2301:
2138:
1551:
1453:, Marcel Duchamp, 1917, replica, 1964"
1443:
1441:
1439:
1437:
1435:
1433:
1431:
1429:
1427:
1405:
629:Of all the artworks in this series of
550:Shortly after its initial exhibition,
7538:
7139:Six Characters in Search of an Author
4279:
4036:Yvonne and Magdeleine Torn in Tatters
3972:
3879:Marcel Duchamp: Artist of the Century
3482:"Marcel Duchamp, Fountain, 1917/1964"
3350:
3337:
2855:
2677:
2386:
2384:
2382:
2360:
2233:
2184:
2182:
2161:. Cambridge: The MIT Press. pp.
2124:
2122:
905:declared he successfully urinated in
7564:
4184:8 × 8: A Chess Sonata in 8 Movements
3872:The Complete Works of Marcel Duchamp
3855:
3484:. San Francisco Museum of Modern Art
3185:
2835:Hensher, Philip (20 February 2008).
2772:The Complete Works of Marcel Duchamp
2663:. Los Angeles, Calif.: Feral House.
2427:Gayford, Martin (16 February 2008).
1691:The complete works of Marcel Duchamp
1238:National Museum of Modern Art, Kyoto
993:
183:cultural movement in New York City.
141:The complete works of Marcel Duchamp
2502:
1424:
1061:created a cracked "bronze redo" of
444:published an article attributed to
13:
6334:Nude Descending a Staircase, No. 2
4044:Nude Descending a Staircase, No. 2
3998:
3856:West, Patrick (13 December 2004).
3832:
3691:, Vol. 2, May 1917, New York City.
3334:, Life, 28 April 1952, pp. 100–111
3010:"Man held for hitting urinal work"
2882:"Kendell Geers- Conceptual Artist"
2807:"Duchamp's urinal tops art survey"
2395:. Pallas Athene. pp. 131–137.
2379:
2179:
2119:
1903:Saltz, Jerry (February 21, 2006),
1693:, New York, Delano Greenidge, 2000
1410:. Bath: Dempsey Parr. p. 42.
1207:San Francisco Museum of Modern Art
624:
607:San Francisco Museum of Modern Art
320:began when, accompanied by artist
263:, No. 2, New York, 1917, p. 6, by
236:, No. 2, New York, 1917, p. 5, by
131:is included in the Marcel Duchamp
14:
7867:
3913:
3722:. Cambridge, MA: MIT Press, 2002.
3399:, McGraw Hill, 1965: pp. 207–208.
2248:, Oxford University Press, 2016,
1512:Unpacking Duchamp: Art in Transit
1154:Seventeen authorized versions of
244:, and writings by Louise Norton,
7521:
7520:
4255:Raymond Duchamp-Villon (brother)
4158:
3791:Marquis, Alice Goldfarb (2002).
3664:
3643:
3630:
3609:
3588:
3567:
3211:Greenberger, Alex (2016-02-16).
2958:"Tate focus for artistic debate"
2906:Blacklock, Mark (26 June 2003).
2774:, New York, Abrams, 1970, p. 466
2443:from the original on 2022-01-12.
2279:"Marcel Duchamp as Rrose Sélavy"
2214:
1721:, Clarendon Press, 1998, p. 74,
1486:, Harry N. Abrams, 2008, p. 61,
873:
769:; 1964). Dalia Judovitz writes:
427:look about it—a cross between a
16:1917 sculpture by Marcel Duchamp
7856:Photographs by Alfred Stieglitz
4014:List of works by Marcel Duchamp
3552:
3537:
3516:
3495:
3474:
3453:
3432:
3415:
3402:
3385:
3363:
3322:
3298:
3273:
3253:
3229:
3204:
3179:
3155:
3131:
3085:
3061:
3037:
3028:
2984:
2950:
2932:
2920:from the original on 2022-01-12
2899:
2874:
2849:
2799:
2777:
2760:
2753:Francis M. Naumann, Beth Venn,
2747:
2732:
2707:
2651:
2631:
2613:
2588:
2563:
2545:
2521:
2496:
2472:
2456:
2447:
2399:
2354:
2330:
2295:
2271:
2258:
2208:
2195:
2110:
2069:
2029:
2016:
2001:
1992:
1983:
1937:
1924:
1879:
1845:
1833:
1788:
1731:
1708:
1696:
1683:
1663:
1314:List of works by Marcel Duchamp
1145:Campbell soup cans on a canvas.
786:During the 1950s and 1960s, as
503:), who contributed an essay to
468:, printed a scathing review of
39:art gallery following the 1917
7288:Grosvenor School of Modern Art
7281:Fourth dimension in literature
4116:Belle Haleine, Eau de Voilette
3761:Kamien-Kazhdan, Adina (2018).
3699:(in French). : Da Capo Press.
3653:. The Israel Museum, Jerusalem
3546:The Art Defying the Art Market
3410:Begegnungen von Dada bis Heute
2968:). 21 May 2000. Archived from
2766:Hahn, Otto, "Marcel Duchamp",
2314:10.7551/mitpress/1517.001.0001
1588:
1568:
1286:National Gallery of Modern Art
1202:Eight versions made for sale:
106:. The original has been lost.
77:Society of Independent Artists
41:Society of Independent Artists
1:
4305:
3186:Chun, Kimberly (2013-08-15).
2860:. Penguin Books. p. 46.
2687:Hicks, Stephen R. C. (2004).
2641:Not Objects so much as Images
2361:Thill, Vanessa (2018-09-18).
2010:Dialogues With Marcel Duchamp
1637:Camfield, William A. (1989).
1595:Hustvedt, Siri (2019-03-29).
1539:Dialogues with Marcel Duchamp
1374:
1293:Prototype version: Bought by
1252:Indiana University Art Museum
1168:1917: Original version, lost.
1120:in which he supposedly said:
748:Rudolf E. Kuenzli states, in
163:and had become involved with
7780:Readymades of Marcel Duchamp
4202:Readymades of Marcel Duchamp
4124:Why Not Sneeze, Rose Sélavy?
4092:Tulip Hysteria Co-ordinating
4068:In Advance of the Broken Arm
3526:. National Gallery of Canada
3442:. Philadelphia Museum of Art
3351:Girst, Thomas (April 2003).
2439:. London. p. 10 at 11.
1778:, Penguin UK, Jun 21, 2018,
1357:Tulip Hysteria Co-ordinating
1264:Musée National d'Art Moderne
1103:
1054:and subsequently burned it.
799:In December 2004, Duchamp's
493:Elsa von Freytag-Loringhoven
360:Tulip Hysteria Co-ordinating
206:In Advance of the Broken Arm
194:Tulip Hysteria Co-ordinating
189:Tulip Hysteria Co-ordinating
119:Elsa von Freytag-Loringhoven
7:
7381:List of avant-garde artists
6358:The Cabinet of Dr. Caligari
3951:Duchamp and the Ready-Mades
3839:Betacourt, Michael (2003).
3697:Dialogs with Marcel Duchamp
2939:Årets största konsthändelse
2039:, New York, 2012, pp. 70–81
1932:Dialogs with Marcel Duchamp
1307:
565:The reaction engendered by
521:Morton Livingston Schamberg
10:
7872:
7629:From the Back Window - 291
7239:Classical Hollywood cinema
4239:Portrait of Marcel Duchamp
3412:, Köln, DuMont: pp. 155ff.
3391:Duchamp, in Hans Richter,
2789:, MIT Press, 1996, p. 47,
2714:Rescher, Nicholas (2015).
1917:November 12, 2023, at the
1243:7/8: In the collection of
1221:National Gallery of Canada
1177:Philadelphia Museum of Art
929:'s installation-sculpture
611:National Gallery of Canada
7736:
7683:
7664:
7605:Spring Showers, the Coach
7572:
7502:
7180:
7021:
6889:
6729:
6478:
6467:
6310:Les Demoiselles d'Avignon
6264:
6090:
5650:
5133:
5124:
5001:
4785:
4527:
4518:
4313:
4194:
4167:
4156:
4020:Portrait of Dr. Dumouchel
4006:
3770:Kleiner, Fred S. (2006).
3765:. Routledge. p. 280.
3726:Hubregtse, Menno (2009).
3695:Cabanne, Pierre (1979) .
2391:Spalding, Julian (2023).
2135:, Smithsonian Institution
2076:Hubregtse, Menno (2009).
1801:, 17 August 2006 (French)
1262:Duchamp's: Bought by the
1069:, which was exhibited at
923:Yuan Chai and Jian Jun Xi
806:Les Demoiselles d'Avignon
794:
675:'s polished erotic forms.
372:exhibition, we found the
146:
68:in 1917, consisting of a
7654:Georgia O'Keeffe - Hands
7646:Georgia O'Keeffe - Torso
5095:The Master and Margarita
4260:Suzanne Duchamp (sister)
4250:Jacques Villon (brother)
3680:
3045:"SHERRIE LEVINE: MAYHEM"
2786:Dada and Surrealist Film
2638:Funcke, Bettina (2013).
2133:Archives of American Art
1639:Marcel Duchamp, Fountain
1545:15 November 2017 at the
1198:Galleria Schwarz edition
750:Dada and Surrealist Film
654:The impact of Duchamp's
7846:Vandalized works of art
7816:Works by Marcel Duchamp
7581:The Last Joke, Bellagio
7388:List of modernist poets
7274:Fourth dimension in art
6450:Meshes of the Afternoon
3564:, The City Review, 2002
2996:4 December 2014 at the
2856:Perry, Grayson (2016).
2845:. London. pp. 2–5.
2600:www.cabinetmagazine.org
2557:Cleveland Museum of Art
2056:Guillaume Apollinaire,
1150:Editions and provenance
615:Centre Georges Pompidou
311:Cleveland Museum of Art
281:, No. 2, New York, 1917
113:as a major landmark in
7765:Nude photography (art)
7472:Second Viennese School
7214:
7203:
5107:The Sound and the Fury
5011:In Search of Lost Time
4468:
4397:
4386:
4340:
4329:
4245:Alexina Duchamp (wife)
3905:Sidney Janis Gallery,
3672:Remaking the Readymade
3638:Remaking the Readymade
3393:Dada: Art and Anti-Art
2858:Playing to the Gallery
2659:Praeger, Dave (2007).
2480:"A Museum That is Not"
2302:Gammel, Irene (2002).
2266:New York Dada, 1915–23
2058:Le Cas de Richard Mutt
1284:II/II: Donated to the
1231:Dimitris Daskalopoulos
1147:
1130:
1010:
918:in Stockholm in 1999.
890:
867:Playing to The Gallery
854:
784:
765:
737:
707:
697:
693:
677:
652:
576:
413:
378:
351:
313:
294:
282:
267:
253:
224:
156:
79:, to be staged at the
52:
31:, 1917, photograph by
7728:Clarence Hudson White
7451:Reactionary modernism
7374:List of art movements
2966:University of Glasgow
2572:Essential Surrealists
2463:William A. Camfield,
2035:Naumann, Francis M.,
1830:, Vol. 2, 1917, p. 5.
1408:Essential Surrealists
1281:in Jerusalem in 1972.
1277:I/II: Donated to the
1274:Two museum versions:
1259:Two artist's proofs:
1142:
1122:
1096:, and a 2015 work by
1005:, a bronze remake by
1001:
881:
843:
771:
689:
668:
647:
571:
544:J. L. Mott Iron Works
446:Guillaume Apollinaire
408:
364:
334:
330:J. L. Mott Iron Works
305:appears in Duchamp's
300:
288:
273:
259:
230:
202:
154:
24:
7785:Straight photography
7589:Winter, Fifth Avenue
7295:Hanshinkan Modernism
7151:The Threepenny Opera
7067:Pelléas et Mélisande
4265:Marcel Duchamp Prize
3815:Duchamp: A Biography
3544:Francis M. Naumann,
3421:Rosalind Constable,
2570:Martin, Tim (1999).
2264:Francis M. Naumann,
2024:Duchamp: A Biography
1887:Duchamp: A Biography
1406:Martin, Tim (1999).
1391:Duchamp: A Biography
981:Viennese Actionists'
901:. Artist / musician
809:(1907) and third to
92:was photographed at
81:Grand Central Palace
7836:Modernist sculpture
7723:Katherine Stieglitz
7353:International Style
7103:Afternoon of a Faun
6382:Battleship Potemkin
6286:Mont Sainte-Victoir
3559:Carter B. Horsley,
3329:Winthrop Sargeant,
3069:"Fountain (Buddha)"
2972:on 21 December 2002
2944:17 May 2011 at the
2914:The Daily Telegraph
2784:Rudolf E. Kuenzli,
2436:The Daily Telegraph
1297:in 1973. Bought by
1236:6/8: Bought by the
1219:3/8: Bought by the
1205:1/8: Bought by the
1094:Alexander Kosolapov
289:Jean Crotti, 1915,
7665:Photography series
7232:Buddhist modernism
7189:American modernism
7115:The Rite of Spring
5083:The Sun Also Rises
5059:The Magic Mountain
4140:La Boîte-en-valise
4084:Apolinère Enameled
3936:2013-04-25 at the
2625:2004-10-12 at the
2559:. 31 October 2018.
1584:. 7 November 2014.
1350:Apolinère Enameled
1216:in London in 1999.
1071:Francis M. Naumann
1048:Johnny on the Spot
1022:Fountain (Madonna)
1011:
891:
603:Indiana University
582:in 1935, first in
394:, and writings by
324:and art collector
314:
295:
283:
268:
254:
225:
220:La Boîte-en-valise
157:
133:catalogue raisonné
53:
7851:1910s photographs
7803:
7802:
7795:291 (art gallery)
7718:Katharine Rhoades
7703:Gertrude Käsebier
7532:
7531:
7260:Experimental film
7176:
7175:
7163:Waiting for Godot
6463:
6462:
5120:
5119:
5023:The Metamorphosis
4273:
4272:
4132:Monte Carlo Bonds
3870:Schwarz, Arturo,
3745:10.7202/1069487ar
3619:. Centre Pompidou
2962:Press Association
2886:www.onepeople.com
2867:978-0-141-97961-8
2813:. 1 December 2004
2725:978-0-8229-8044-5
2670:978-1-932595-21-5
2620:Essay on Fountain
2503:Duchamp, Marcel.
2095:10.7202/1069487ar
2062:Mercure de France
1910:The Village Voice
1679:978-3-7757-5068-4
1481:Gavin Parkinson,
1369:Maurizio Cattelan
1344:Transgressive art
1266:in Paris in 1986.
1026:Fountain (Buddha)
1003:Fountain (Buddha)
994:Reinterpretations
965:Pierre Pinoncelli
838:The Village Voice
766:Renvoi miroirique
761:Mirrorical Return
441:Mercure de France
7863:
7713:Georgia O'Keeffe
7566:Alfred Stieglitz
7559:
7552:
7545:
7536:
7535:
7524:
7523:
7495:
7493:Vulgar modernism
7488:
7486:Underground film
7481:
7474:
7467:
7460:
7453:
7446:
7439:
7432:
7425:
7418:
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7404:
7397:
7390:
7383:
7376:
7369:
7362:
7355:
7348:
7339:
7332:
7325:
7318:
7311:
7309:Hippie modernism
7304:
7297:
7290:
7283:
7276:
7269:
7262:
7255:
7248:
7241:
7234:
7227:
7225:Bloomsbury Group
7220:
7219:
7209:
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6406:Un Chien Andalou
6400:
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6364:
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6298:The Starry Night
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5627:Toulouse-Lautrec
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4388:Der Blaue Reiter
4381:
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4353:
4346:
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4232:Fountain Archive
4162:
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3867:
3852:
3851:on 1 March 2006.
3828:
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3787:
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3675:
3670:Kamien-Kazhdan,
3668:
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3647:
3641:
3636:Kamien-Kazhdan,
3634:
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3463:. Moderna Museet
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3143:www.thebroad.org
3135:
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3110:10.2307/25007559
3089:
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3016:. 6 January 2006
3006:
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2243:David M. Lubin,
2240:
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2199:
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2188:Marcel Duchamp,
2186:
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1715:Hopkins, David,
1712:
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1689:Arturo Schwarz,
1687:
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1339:Art intervention
1325:Fountain Archive
1288:in Rome in 1997.
963:was attacked by
921:In spring 2000,
768:
740:
710:
705:"), or possibly
700:
392:Alfred Stieglitz
326:Walter Arensberg
250:Walter Arensberg
242:Alfred Stieglitz
125:s presentation.
115:20th-century art
94:Alfred Stieglitz
33:Alfred Stieglitz
7871:
7870:
7866:
7865:
7864:
7862:
7861:
7860:
7831:Lost sculptures
7821:1917 sculptures
7806:
7805:
7804:
7799:
7790:The Linked Ring
7770:Photo-Secession
7732:
7685:
7679:
7660:
7613:The Hand of Man
7568:
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7498:
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7484:
7479:Structural film
7477:
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7456:
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7430:New Objectivity
7428:
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7416:Neo-romanticism
7414:
7409:Neo-primitivism
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7055:Verklärte Nacht
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1367:, sculpture by
1310:
1250:8/8: Bought by
1229:5/8: Bought by
1212:2/8: Bought by
1152:
1106:
1037:John Baldessari
996:
973:performance art
957:Pompidou Centre
876:
822:The Independent
816:Marilyn Diptych
797:
627:
625:Interpretations
589:Boîte-en-valise
307:Boîte-en-valise
301:A miniature of
165:Francis Picabia
149:
49:Marsden Hartley
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4358:Constructivism
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4000:Marcel Duchamp
3996:
3995:
3988:
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3973:
3967:
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3948:
3925:
3915:
3914:External links
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3408:Hans Richter,
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2706:
2699:
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2669:
2650:
2647:. p. 279.
2630:
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2587:
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2484:www.e-flux.com
2471:
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2064:, 16 June 1918
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1194:
1191:Moderna Museet
1185:1963: Made by
1183:
1180:
1169:
1151:
1148:
1105:
1102:
1090:constructivist
1086:Sophie Matisse
1018:Sherrie Levine
1007:Sherrie Levine
995:
992:
939:exhibition at
916:Moderna Museet
875:
872:
827:conceptual art
796:
793:
626:
623:
556:Calvin Tomkins
523:on the piece,
491:; the Dadaist
277:reproduced in
148:
145:
143:(number 345).
137:Arturo Schwarz
66:Marcel Duchamp
26:Marcel Duchamp
15:
9:
6:
4:
3:
2:
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7515:Postmodernism
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7458:Metamodernism
7455:
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7316:Impressionism
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4520:Literary arts
4517:
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4496:
4492:
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4461:Neoplasticism
4458:
4455:
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4432:
4428:
4427:
4425:
4424:Functionalism
4421:
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4409:
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4394:
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4379:Expressionism
4376:
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4359:
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4351:Ashcan School
4348:
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4225:The Blind Man
4222:
4220:
4219:New York Dada
4217:
4213:
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4176:Anemic Cinema
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4052:Bicycle Wheel
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3863:New Statesman
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3826:
3824:0-8050-5789-7
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3714:Gammel, Irene
3712:
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3706:0-306-80303-8
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3688:The Blind Man
3685:
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3505:. Tate Modern
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3310:www.artsy.net
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2909:"Art attacks"
2902:
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2198:
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2153:Gammel, Irene
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2019:
2012:
2011:
2004:
1995:
1986:
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1956:(42): 81–95.
1955:
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1905:Idol Thoughts
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1279:Israel Museum
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1014:Appropriation
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895:Kendell Geers
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862:Grayson Perry
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733:
731:
728:
724:
720:
716:
715:
714:Mutt and Jeff
709:
704:
699:
692:
688:
686:
682:
676:
674:
667:
665:
660:
657:
651:
646:
644:
640:
639:Stephen Hicks
636:
632:
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581:
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557:
553:
548:
545:
541:
538:(poverty) or
537:
532:
530:
526:
522:
518:
514:
510:
506:
505:The Blind Man
502:
501:Edgard Varèse
498:
497:Louise Norton
494:
490:
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477:
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467:
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458:
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417:
412:
407:
405:
401:
400:Beatrice Wood
397:
396:Louise Norton
393:
389:
388:
387:The Blind Man
383:
377:
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370:
363:
361:
357:
350:
348:
347:
341:
340:
339:Mutt and Jeff
333:
331:
327:
323:
322:Joseph Stella
319:
312:
308:
304:
299:
292:
287:
280:
279:The Blind Man
276:
272:
266:
265:Louise Norton
262:
261:The Blind Man
258:
251:
247:
246:Beatrice Wood
243:
239:
238:Louise Norton
235:
234:
233:The Blind Man
229:
222:
221:
216:
215:Porte-chapeau
212:
208:
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201:
197:
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191:
190:
184:
182:
178:
174:
173:Beatrice Wood
170:
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144:
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138:
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126:
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120:
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112:
107:
105:
104:
103:The Blind Man
99:
95:
91:
87:
82:
78:
74:
71:
67:
64:sculpture by
63:
59:
58:
50:
46:
42:
38:
34:
30:
27:
23:
19:
7841:Found object
7775:Pictorialism
7751:
7745:Camera Notes
7743:
7671:
7652:
7644:
7636:
7635:
7627:
7621:The Steerage
7619:
7611:
7603:
7597:The Terminal
7595:
7587:
7579:
7513:
7506:
7253:Ecomodernism
7161:
7149:
7137:
7126:
7125:
7113:
7101:
7091:The Firebird
7089:
7077:
7065:
7053:
7041:
7029:
6448:
6438:Citizen Kane
6436:
6427:Fallingwater
6417:Villa Savoye
6404:
6392:
6380:
6368:
6356:
6346:Black Square
6344:
6332:
6320:
6308:
6296:
6284:
6272:
6164:Le Corbusier
6092:Architecture
5105:
5093:
5081:
5071:Mrs Dalloway
5069:
5057:
5045:
5033:
5021:
5009:
4894:Lowell (Amy)
4237:
4230:
4223:
4182:
4174:
4148:Étant donnés
4146:
4138:
4130:
4122:
4114:
4106:
4099:
4098:
4090:
4082:
4074:
4066:
4058:
4050:
4042:
4034:
4026:
4018:
3959:Khan Academy
3955:Smarthistory
3946:Khan Academy
3942:Smarthistory
3929:
3920:
3906:
3892:
3878:
3871:
3861:
3849:the original
3842:
3814:
3792:
3772:
3762:
3738:(2): 28–42.
3735:
3731:
3718:
3696:
3687:
3671:
3666:
3655:. Retrieved
3645:
3637:
3632:
3621:. Retrieved
3611:
3600:. Retrieved
3590:
3579:. Retrieved
3569:
3560:
3554:
3545:
3539:
3528:. Retrieved
3518:
3507:. Retrieved
3497:
3486:. Retrieved
3476:
3465:. Retrieved
3455:
3444:. Retrieved
3434:
3426:
3422:
3417:
3409:
3404:
3392:
3387:
3371:
3370:Alan Young,
3365:
3356:
3330:
3324:
3313:. Retrieved
3309:
3300:
3289:. Retrieved
3287:. 2017-04-11
3284:
3275:
3264:. Retrieved
3255:
3244:. Retrieved
3240:
3231:
3220:. Retrieved
3216:
3206:
3195:. Retrieved
3191:
3181:
3170:. Retrieved
3166:
3157:
3146:. Retrieved
3142:
3133:
3121:. Retrieved
3104:(1): 81–95.
3101:
3098:Grand Street
3097:
3087:
3076:. Retrieved
3072:
3063:
3052:. Retrieved
3048:
3039:
3030:
3018:. Retrieved
3013:
3004:
2986:
2974:. Retrieved
2970:the original
2952:
2934:
2922:. Retrieved
2913:
2901:
2889:. Retrieved
2885:
2876:
2857:
2851:
2840:
2815:. Retrieved
2810:
2801:
2785:
2779:
2771:
2767:
2762:
2754:
2749:
2740:
2734:
2715:
2709:
2689:
2660:
2653:
2640:
2633:
2615:
2604:. Retrieved
2599:
2590:
2571:
2565:
2556:
2547:
2536:. Retrieved
2533:www.moma.org
2532:
2523:
2512:. Retrieved
2508:
2498:
2487:. Retrieved
2483:
2474:
2464:
2458:
2449:
2434:
2421:
2410:. Retrieved
2401:
2392:
2370:. Retrieved
2366:
2356:
2345:. Retrieved
2341:
2332:
2304:
2297:
2286:. Retrieved
2282:
2273:
2265:
2260:
2244:
2224:. Retrieved
2220:
2210:
2202:
2197:
2189:
2157:
2112:
2088:(2): 28–42.
2085:
2081:
2071:
2061:
2057:
2036:
2031:
2023:
2018:
2009:
2003:
1994:
1985:
1973:. Retrieved
1953:
1950:Grand Street
1949:
1939:
1931:
1926:
1908:
1886:
1881:
1865:
1847:
1835:
1826:
1798:
1790:
1774:
1768:
1760:
1755:
1739:
1733:
1716:
1710:
1698:
1690:
1685:
1670:
1665:
1638:
1612:. Retrieved
1601:The Guardian
1600:
1590:
1579:
1570:
1538:
1511:
1482:
1461:. Retrieved
1456:
1450:
1407:
1390:
1363:
1355:
1348:
1331:
1323:
1319:Found object
1173:Sidney Janis
1159:
1155:
1153:
1143:
1135:
1131:
1123:
1118:Hans Richter
1115:
1107:
1081:
1077:
1075:
1066:
1062:
1056:
1047:
1045:
1035:
1029:
1028:respectively
1025:
1021:
1012:
1002:
984:intervention
977:neo-Dadaists
968:
960:
954:
944:
941:Tate Britain
937:Turner Prize
930:
920:
911:
906:
898:
892:
883:
865:
857:
855:
847:
844:
836:
831:
820:
814:
804:
800:
798:
787:
785:
779:
774:
772:
760:
756:
754:
749:
747:
743:
734:
727:scatological
722:
712:
694:
690:
684:
678:
669:
663:
661:
655:
653:
648:
642:
634:
628:
605:Art Museum,
597:
594:The Suitcase
593:
587:
584:papier-mâché
579:
577:
572:
566:
564:
559:
551:
549:
539:
535:
533:
528:
524:
516:
512:
508:
504:
489:Rrose Sélavy
480:
478:
473:
465:
461:
459:
453:
449:
439:
437:
433:Veiled Woman
420:
418:
414:
409:
385:
381:
379:
373:
368:
365:
359:
355:
352:
344:
337:
335:
317:
315:
306:
302:
290:
278:
274:
260:
231:
218:
214:
210:
209:(1915), and
204:
193:
187:
185:
160:
158:
140:
128:
127:
122:
108:
101:
89:
85:
56:
55:
54:
45:The Warriors
44:
28:
18:
7756:(1903-1917)
7753:Camera Work
7748:(1897-1903)
7676:(1925-1934)
7673:Equivalents
7608:(1899-1900)
7573:Photographs
7508:Romanticism
7465:Remodernism
7346:Incoherents
7205:Avant-garde
7196:Armory Show
6803:Maeterlinck
6706:Villa-Lobos
6692:Szymanowski
6671:Stockhausen
6608:Lutosławski
6326:(1909–1910)
5126:Visual arts
5099:(1928–1940)
5015:(1913–1927)
4538:Apollinaire
4502:Synchromism
4342:Art Nouveau
4151:(1946–1966)
4143:(1934–1966)
4079:(1915–1923)
4060:Bottle Rack
3285:artnet News
3217:ARTnews.com
3073:Museo Jumex
3049:whitney.org
2976:17 February
2739:Julia Dür,
2602:. Fall 2007
2393:Art Exposed
1457:tate.org.uk
1334:(sculpture)
1295:Andy Warhol
1214:Tate Modern
1092:urinals by
1082:Urinal Cake
1052:Burning Man
927:Tracey Emin
882:An inexact
833:Jerry Saltz
811:Andy Warhol
730:golden calf
725:"a kind of
619:Tate Modern
507:discussing
470:Jean Crotti
111:avant-garde
7810:Categories
7684:Family and
7395:Maximalism
7330:Literature
7005:Wiesenthal
6907:Cunningham
6900:Balanchine
6880:Witkiewicz
6852:Strindberg
6838:Pirandello
6810:Mayakovsky
6685:Stravinsky
6657:Schoenberg
6469:Performing
6394:Metropolis
6185:Mendelsohn
5990:Rossellini
5983:Richardson
5794:Fassbinder
5780:Eisenstein
5717:Cassavetes
5473:Modigliani
5347:Goncharova
5333:Giacometti
4727:Dos Passos
4529:Literature
4488:Surrealism
4399:Die Brücke
4108:L.H.O.O.Q.
3928:Duchamp's
3901:0835714543
3887:0262610728
3657:2022-09-03
3651:"Fountain"
3623:2022-09-03
3617:"Fontaine"
3602:2022-09-03
3596:"Fountain"
3581:2022-09-03
3575:"Fountain"
3530:2022-09-03
3524:"Fountain"
3509:2022-09-03
3488:2022-09-03
3467:2022-09-03
3461:"Fountain"
3446:2022-09-03
3440:"Fountain"
3381:071900943X
3315:2020-08-14
3291:2020-08-14
3266:2020-08-14
3246:2020-08-14
3222:2020-08-14
3197:2020-08-14
3172:2020-08-14
3148:2020-08-14
3078:2020-08-14
3054:2020-08-14
2795:026261121X
2606:2022-01-02
2538:2020-08-14
2514:2020-08-14
2489:2020-08-14
2425:Quoted in
2412:2024-03-20
2372:2023-08-09
2347:2023-08-09
2288:2023-08-09
2254:0190218622
2226:2020-07-26
1784:0241976596
1749:0816636192
1727:0198175132
1648:0939594102
1614:2019-03-31
1521:0520213769
1492:1854377663
1375:References
1126:aesthetics
1098:Ai Wei Wei
1088:, Russian
1059:Mike Bidlo
959:in Paris,
864:stated in
846: [
701:(meaning "
631:readymades
346:pissotière
7639:(Duchamp)
7444:Pulp noir
7402:Modernity
7267:Film noir
6991:St. Denis
6914:Diaghilev
6650:Schaeffer
6573:Hindemith
6545:Dutilleux
6517:Boulanger
6322:The Dance
6018:Tarkovsky
6011:Sternberg
5843:Hitchcock
5759:Dovzhenko
5675:Antonioni
5620:Stieglitz
5459:Metzinger
5410:Kokoschka
5389:Kandinsky
4803:Aldington
4796:Akhmatova
4713:Marinetti
4706:Mansfield
4657:Hemingway
4495:Symbolism
4314:Movements
4307:Modernism
4119:(1920–21)
4087:(c. 1916)
4031:(1910–11)
3123:28 August
3020:5 October
2891:5 October
2817:5 October
2768:L'Express
2026:, p. 185.
2022:Tomkins,
1975:26 August
1930:Cabanne,
1889:, p. 181.
1885:Tomkins,
1875:0084-9537
1773:Sue Roe,
1609:0261-3077
1463:5 October
1393:, p. 186.
1389:Tomkins,
1247:in Paris.
1187:Ulf Linde
1104:Afterword
988:manoeuvre
903:Brian Eno
886:replica,
841:in 2006:
835:wrote in
738:Tout-Fait
719:moneybags
438:In 1918,
404:Arensberg
123:Fountain'
70:porcelain
62:readymade
7637:Fountain
7526:Category
7127:Fountain
7031:Don Juan
6970:Nijinsky
6866:Wedekind
6845:Piscator
6740:Anderson
6664:Scriabin
6580:Honegger
6234:Sullivan
6220:Saarinen
6213:Rietveld
6206:Niemeyer
6178:Melnikov
6108:Bunshaft
6039:Truffaut
6004:Sjöström
5948:Pudovkin
5920:Minnelli
5885:Kurosawa
5878:Kuleshov
5808:Flaherty
5634:Vuillard
5613:Steichen
5571:Rousseau
5536:Pissarro
5515:O'Keeffe
5480:Mondrian
5431:Malevich
5424:Magritte
5396:Kirchner
5340:van Gogh
5291:Doesburg
5270:Delaunay
5263:Delaunay
5186:Brâncuși
5172:Boccioni
5135:Painting
4985:Williams
4908:Mallarmé
4824:Cendrars
4734:Platonov
4692:Lawrence
4685:Koestler
4622:Flaubert
4615:Faulkner
4580:Bulgakov
4509:Tonalism
4470:De Stijl
4454:Lettrism
4440:Futurism
4331:Art Deco
4207:Anti-art
4100:Fountain
4028:The Bush
4007:Artworks
3934:Archived
3930:Fountain
3921:Fountain
3843:Fountain
3813:(1996).
3754:42630803
3674:, p. 274
3640:, p. 280
3397:New York
3167:Phillips
3118:25007559
3014:BBC News
2994:Archived
2942:Archived
2918:Archived
2811:BBC News
2623:Archived
2467:(Part 1)
2441:Archived
2155:(2002).
2104:42630803
1970:25007559
1915:Archived
1799:Le Monde
1657:87028248
1543:Archived
1451:Fountain
1308:See also
1254:in 1971.
1240:in 1987.
1223:in 1971.
1209:in 1998.
1193:in 1965.
1179:in 1998.
1156:Fountain
1063:Fountain
1057:In 2015
1041:bed pans
969:Fountain
961:Fountain
945:Fountain
912:Fountain
907:Fountain
899:Fountain
884:Fountain
858:Fountain
819:(1962).
801:Fountain
788:Fountain
780:Fountain
775:Fountain
723:Fountain
708:Urmutter
685:Fountain
681:Brâncuși
673:Brâncuși
664:Fountain
656:Fountain
643:Fountain
635:Fountain
598:Fountain
580:Fountain
567:Fountain
560:Fountain
552:Fountain
529:Fountain
517:high art
513:Fountain
509:Fountain
481:Fountain
466:The Soil
462:Fountain
454:Fountain
450:Fountain
448:stating
425:oriental
421:Fountain
382:Fountain
374:Fountain
369:Fountain
356:Fountain
318:Fountain
303:Fountain
275:Fountain
211:Hat rack
179:, proto-
177:anti-art
161:Fountain
129:Fountain
100:journal
90:Fountain
86:Fountain
57:Fountain
29:Fountain
7826:Urinals
7737:Related
7181:Related
7043:Ubu Roi
6998:Tamiris
6984:Sokolow
6963:Massine
6831:Osborne
6824:O'Neill
6817:O'Casey
6775:Chekhov
6761:Beckett
6747:Anouilh
6731:Theatre
6678:Strauss
6636:Russolo
6615:Milhaud
6594:Janáček
6566:Górecki
6559:Feldman
6538:Debussy
6531:Copland
6489:Antheil
6227:Steiner
6150:Johnson
6129:Guimard
6122:Gropius
5969:Resnais
5871:Kubrick
5801:Fellini
5787:Epstein
5773:Edwards
5738:Cocteau
5724:Chaplin
5696:Bresson
5689:Bergman
5668:Aldrich
5661:Akerman
5606:Soutine
5578:Schiele
5529:Picasso
5522:Picabia
5452:Matisse
5326:Gauguin
5298:Duchamp
5256:Kooning
5235:Claudel
5228:Chirico
5221:Chagall
5214:Cézanne
5207:Cassatt
5179:Bonnard
5165:Bellows
5158:Balthus
5035:Ulysses
4957:Stevens
4950:Seferis
4769:Unamuno
4608:Forster
4587:Chekhov
4552:Beckett
4481:Orphism
4447:Imagism
4431:Bauhaus
4417:Fauvism
4322:Acmeism
4195:Related
2163:222–227
1934:, p. 55
1564:. 2007.
1364:America
1161:Cabinet
1138:Pop art
1065:titled
1016:artist
949:Perspex
935:in the
703:poverty
485:Suzanne
411:object.
169:Man Ray
7657:(1919)
7649:(1918)
7641:(1917)
7632:(1915)
7624:(1907)
7616:(1902)
7600:(1893)
7592:(1893)
7584:(1887)
7167:(1953)
7155:(1928)
7143:(1921)
7131:(1917)
7119:(1913)
7107:(1912)
7095:(1910)
7083:(1905)
7079:Salome
7071:(1902)
7059:(1899)
7047:(1896)
7035:(1888)
7012:Wigman
6942:Graham
6935:Fuller
6928:Fokine
6921:Duncan
6873:Wilder
6859:Toller
6796:Kaiser
6768:Brecht
6754:Artaud
6713:Webern
6699:Varèse
6629:Partch
6601:Ligeti
6524:Boulez
6496:Bartók
6454:(1943)
6442:(1941)
6430:(1936)
6420:(1931)
6410:(1929)
6398:(1927)
6386:(1925)
6374:(1923)
6362:(1920)
6350:(1915)
6338:(1912)
6314:(1907)
6302:(1889)
6290:(1887)
6278:(1886)
6255:Wright
6241:Tatlin
6199:Neutra
6101:Breuer
6067:Welles
6053:Vertov
5976:Renoir
5927:Murnau
5913:Marker
5906:Lupino
5864:Keaton
5850:Hubley
5836:Godard
5822:Fuller
5766:Dreyer
5745:Dassin
5703:Buñuel
5599:Sisley
5592:Signac
5585:Seurat
5557:Renoir
5375:Hopper
5277:Demuth
5200:Calder
5193:Braque
5144:Albers
5111:(1929)
5087:(1926)
5075:(1925)
5063:(1924)
5051:(1922)
5039:(1922)
5027:(1915)
4978:Valéry
4964:Thomas
4929:Pessoa
4873:George
4866:Elytis
4859:Éluard
4845:Desnos
4817:Cavafy
4787:Poetry
4748:Proust
4741:Porter
4643:Hamsun
4601:Döblin
4594:Conrad
4566:Breton
4545:Barnes
4365:Cubism
4187:(1957)
4179:(1926)
4135:(1924)
4127:(1921)
4111:(1919)
4103:(1917)
4095:(1917)
4071:(1915)
4063:(1914)
4055:(1913)
4047:(1912)
4039:(1911)
4023:(1910)
3899:
3885:
3821:
3799:
3780:
3752:
3703:
3379:
3192:SFGate
3116:
2864:
2793:
2722:
2697:
2667:
2578:
2320:
2252:
2215:Tate.
2169:
2102:
1968:
1873:
1782:
1747:
1725:
1677:
1655:
1645:
1607:
1519:
1490:
1459:. Tate
1414:
1196:1964:
1050:, for
1009:, 1996
979:' and
932:My Bed
795:Legacy
609:, the
540:mutter
431:and a
429:Buddha
171:, and
147:Origin
73:urinal
7337:Post-
7323:Music
7022:Works
6977:Shawn
6956:Laban
6891:Dance
6789:Jarry
6782:Ibsen
6720:Weill
6643:Satie
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