Marcel Duchamp S Fountain

Stefan Banz rassemble des preuves et des documents jusqu'alors inconnus sur l'émergence, la disparition et la réception du célèbre readymade de Marcel Duchamp, Fontaine, et offre une perspective nouvelle sur cette œuvre qui apparaît comme la plus importante du XXe siècle. Stefan Banz examine en détail les cinq différentes répliques de Fountain réalisées en 1918, 1938, 1950, 1963 et 1964. Cette œuvre questionne la question de l'auteur et elle est posée pour la première fois dans l'histoire par des moyens artistiques. On découvre dans son étude que l'urinoir des deux photographies de Roché de 1918 n'est pas le même modèle que celui de la célèbre photographie de Stieglitz de 1917 : l'urinoir des photographies de Roché peut être clairement identifié à un modèle commercial, tandis que celui de la photographie de Stieglitz ne peut être identifié à aucun modèle industriel. Dans ce contexte, l'auteur propose également une nouvelle théorie sur l'origine réelle de cet urinoir qui est aujourd'hui considéré comme le célèbre « original » disparu de Fountain. On y trouve aussi des indices sur la raison pour laquelle Duchamp a signé cette œuvre avec le pseudonyme R. Mutt. Les sources et les documents de cet ouvrage prouvent aussi que la proposition d'Irene Gammel, de Glyn Thompson et surtout de Siri Hustvedt concernant l'implication de La Baronne von Freytag-Loringhoven dans la conception de Fountain est plus qu'improbable. Curieusement c'est Francis Naumann, le plus célèbre spécialiste américain de Duchamp, qui s'est involontairement trouvé à la base de cette fausse nouvelle, en essayant, en 1994, d'améliorer le travail artistique de la Baronne dans son célèbre livre New York Dada 1915-23 (également par intérêt personnel, car il est aussi marchand d'art et possédait de nombreuses œuvres de la Baronne). Il lui a attribué par exemple, comme co-autrice, le Readymade God de Morton Schamberg de 1917 (aujourd'hui au Philadelphia Museum of Art), qui représente en quelque sorte une réaction à Fountain. Quand Irene Gammel (qui a écrit une monographie sur la La Baronne von Freytag-Loringhoven) a lu ce texte en 2001, elle a poussé l'allégation jusqu'à à prétendre (sans avoir de preuve) que la Baronne pourrait aussi être l'auteur de Fountain de Duchamp. Et l'idée fait son chemin, reprise entre autres par la femme d'une superstar (Paul Auster), et la fausse nouvelle se répand...

A wildly entertaining and surprisingly educational dive into art history as you've never seen it before, from the host of the beloved ArtCurious podcast We're all familiar with the works of Claude Monet, thanks in no small part to the ubiquitous reproductions of his water lilies on umbrellas, handbags, scarves, and dorm-room posters. But did you also know that Monet and his cohort were trailblazing rebels whose works were originally deemed unbelievably ugly and vulgar? And while you probably know the tale of Vincent van Gogh's suicide, you may not be aware that there's pretty compelling evidence that the artist didn't die by his own hand but was accidentally killed--or even murdered. Or how about the fact that one of Andy Warhol's most enduring legacies involves Caroline Kennedy's moldy birthday cake and a collection of toenail clippings? ArtCurious is a colorful look at the world of art history, revealing some of the strangest, funniest, and most fascinating stories behind the world's great artists and masterpieces. Through these and other incredible, weird, and wonderful tales, ArtCurious presents an engaging look at why art history is, and continues to be, a riveting and relevant world to explore.

Featuring works by artists including Cory Arcangel, Sophie Calle, Marcel Duchamp, Judy Fiskin, and Jeff Koons the book marks the centenary of an iconic masterpiece. One hundred years ago, Dada artist Marcel Duchamp forever changed the nature of art by anonymously submitting Fountain in 1917, a porcelain urinal signed "R. Mutt" as an art work to the exhibition of the Society of Independent Artists, New York. The show organizers' rejection of Fountain ignited a controversy that persists to today about the definition of art and who gets to pass judgement. NSU Art Museum marks this centenary by organizing S ome Aesthetic Decisions , a show of artworks by Cory Arcangel, John Baldessari, Bernd and Hilla Becher, Sophie Calle, Duchamp, Judy Fiskin, Claire Fontaine, Mike Kelley, Jeff Koons, Joseph Kosuth, Jorge Pardo, Andy Warhol et al, examining issues of beauty, value and judgement. The title of the book, and of the exhibition, is derived from Judy Fiskin's photography series Some Aesthetic Decisions (1973 to 1995).

Artist of the Century. These eleven illustrated essays explore the structure and meaning of Duchamp's work as part of an ongoing critical enterprise that has just begun.

This book marks the centenary of Marcel Duchamp’s Fountain by critically re-examining the established interpretation of the work. It introduces a new methodological approach to art-historical practice rooted in a revised understanding of Lacan, Freud and Slavoj Žižek. In weaving an alternative narrative, Kilroy shows us that not only has Fountain been fundamentally misunderstood but that this very misunderstanding is central to the work’s significance. The author brings together Duchamp’s own statements to argue Fountain’s verdict was strategically stage-managed by the artist in order to expose the underlying logic of its reception, what he terms ‘The Creative Act.’ This book will be of interest to a broad range of readers, including art historians, psychoanalysts, scholars and art enthusiasts interested in visual culture and ideological critique.

In this intellectually wide-ranging book John Roberts develops a labor theory of culture as a model for explaining the dynamics of avant-garde art and the expansion of artistic authority in the twentieth and twenty-first centuries. From Duchamp to Warhol, conceptual art, and the "post-visual" practices of the moment, Roberts explores the relationship between artistic labor and productive labor, and the limits and possibilities of authorship. In doing so, he confronts a recurring theme of both conservative and radical detractors of modern art in the twentieth and twenty-first centuries: how is skill, and the seeming absence of skill in modern art, to be theorized and evaluated? Drawing on cognitive psychology, labor process theory, social anthropology, and debates in contemporary political philosophy, Roberts' book establishes a new critical topography for examining the cultural form of art today.

Published on the fiftieth anniversary of Marcel Duchamp’s death, Duchamp’s Last Day offers a radical reading of the artist’s final hours. Just moments after Duchamp died, his closest friend Man Ray took a photograph of him. His face is wan; his eyes are closed; he appears calm. Taking this image as a point of departure, Donald Shambroom begins to examine the surrounding context—the dinner with Man Ray and another friend, Robert Lebel, the night Duchamp died, the conversations about his own death at that dinner and elsewhere, and the larger question of whether this radical artist’s death can be read as an extension of his work. Shambroom’s in-depth research into this final night, and his analysis of the photograph, feeds into larger questions about the very nature of artworks and authorship which Duchamp raised in his lifetime. In the case of this mysterious and once long-lost photograph, who is the author? Man Ray or Duchamp? Is it an artwork or merely a record? Has the artist himself turned into one of his own readymades? A fascinating essay that is both intimate and steeped in art history, Duchamp’s Last Day is filled with intricate details from decades of research into this peculiar encounter between art, life, and death. Shambroom’s book is a wonderful study of one of the greatest artists of the twentieth century.