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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] Fountain is a readymade sculpture by Marcel Duchamp in 1917, consisting of a porcelain urinal signed "R. Mutt".
Marcel Duchamp, Fountain, 1917; photograph by Alfred Stieglitz. A found object (a calque from the French objet trouvé), or found art, [1] [2] [3] 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. [4]
Object history: This photography have a B&W reproduction in The Blind Man, n° 2, page 4.Editors: Henri-Pierre Roche, Beatrice Wood, and Marcel Duchamp. Published in New York, May 1917
An antidote to what Duchamp called "retinal art", In Advance of the Broken Arm was the second of a series of sculptures that he named "ready-mades", the most famous of which is his 1917 Fountain. At the time, the term "ready-made" referred to manufactured goods as opposed to handmade goods, but Duchamp used the term to describe "an ordinary ...
Marcel Duchamp's studio at 33 West 67th Street, New York City, 1917–18. Shown to the left is the 2nd version of Bicycle Wheel, 1916–17. The original 1913 version and this 2nd version are lost. The coatrack, titled Trap (Trébuchet), 1917, is on the floor, lower left.
Marcel Duchamp resigned as a director after the Society refused to include in the exhibition the Fountain — a readymade in the form of a urinal and signed with the pseudonym "R. Mutt." The incident pointed out that the exhibition was not truly open.
The French artist Marcel Duchamp paved the way for the conceptualists, providing them with examples of prototypically conceptual works — the readymades, for instance.The most famous of Duchamp's readymades was Fountain (1917), a standard urinal-basin signed by the artist with the pseudonym "R.Mutt", and submitted for inclusion in the annual, un-juried exhibition of the Society of Independent ...
Alfred Stieglitz (Fountain by R. Mutt, photography; letter) and; Clara Tice (drawing). Volume 2 is best known for the group's reaction to the rejection of Duchamp's Fountain by an unjuried art show in 1917. Although the magazine had a brief life, it was influential as the first publication by Dadaists in the United States.