#duchamp

[k25ff]

"Has anyone drawn skibidi Duchamp’s Fountain yet"

–A discord user, about a minute before they saw the worst thing in the world. (1642)

[hydeordie]

MAURIZIO CATTELAN A Perfect Day, 1999

[singeratlarge]

Happy Heavenly Birthday to Man Ray (1890-1976), the pioneer of visual art and “found objects.” He was born in American but spent most of his career in Paris, becoming an informal contributor to the Dada and Surrealist movements surrounding him. His career intersected with Salvador Dali, Marcel Duchamp, Pablo Picasso, and a hit list of actors, artists, dancers, filmmakers, and musicians. Despite Ray tagging himself as “just a painter,” he produced major works in a variety of media and is best known for his pioneering photography—specially fashion and portrait photography. He is also noted for his work with photograms (photographic images made not with a camera but with light exposure) which he called “Rayographs.” In the 1920s he directed and appeared in a number of avant-garde films, including the 1924 urban fantasy ENTR’ACTE (directed by René Clair). Ray appears with Frances Picabia, playing chess on a chessboard that transforms into a city center with busses and cars. I used this scene in a video for my song “It’s In Your Hands,” with music that quotes heavily from Erik Satie (who also appeared in ENTR’ACTE). https://www.youtube.com/watch?v=xxReq4Xr-U8 Meanwhile, thank you Man for getting us to see the art in everything.

#manray #birthday #visualart #foundobjects #foundthings #Paris #dadaism #surrealism #salvadordali #marcelduchamp #pablopicasso #painter #photography #photogram #rayograph #avantgarde #reneclair #francespicabia #eriksatie #entracte #art #johnnyjblair #gnosseinnes

[harvardfineartslib]

We heard that November 19th was World Toilet Day, and we thought of “The Old In Out” (1998), an installation of cast resin toilet bowls created by a British artist Sarah Lucas (b. 1962).

Toilets are a recurring theme for Lucas. They often function as reminders of mortality and self-destructive urges in her work. Toilet bowls act as vessels to be filled, and at the same time, they stand in as a body.

And of course, there’s “Fountain” by Duchamp!

Sarah Lucas : exhibitions and catalogue raisonné, 1989-2005 Lucas, Sarah, 1962- London : Tate, 2005. HOLLIS number: 990100016970203941

Fountain [original work photographed by Stieglitz] Duchamp, Marcel, 1887-1968, French [artist] Stieglitz, Alfred, 1864-1946, American [photographer] French 1917, lost HOLLIS number: olvwork53524

[fashionbooksmilano]

Rrose is a Rrose is a Rrose

Gender Performance in Photography 

Jennifer Blessing

with contributions by Judith Halberstam, Lyle Ashton Harris, Nancy Spector, Carole-Anne Tyler, Sarah Wilson

Guggenheim Museum Publ., New York 1997, 224 pages, softcover, 27,30x33,65cm, ISBN 0-89207-185-0

euro 120,00

email if you want to buy booksinprogressmilano@yahoo.it

Exhibition New York January 17- April 27, 1997

This important volume, whose title combines Gertrude Stein’s famous motto, “Rose is a rose is a rose is a rose,” with the name of Marcel Duchamp’s feminine alter ego, Rrose Selavy, features portraits, self-portraits and photomontages in which the gender of the subject is highlighted through performance for the camera or through technical manipulation of the image. In many of the works, photography’s strong aura of realism and objectivity promotes a fantasy of total gender transformation. In other pieces, the photographic representation articulates an incongruity between the posing body and its assumed costume. Features work by Cecil Beaton, Brassai, Claude Cahun, Marcel Duchamp, Hannah Hàch, Man Ray, Janine Antoni, Matthew Barney, Nan Goldin, Lyle Ashton Harris, Robert Mapplethorpe, Annette Messager, Yasumasa Morimura, Catherine Opie, Lucas Samaras, Cindy Sherman, Inez van Lamsweerde and Andy Warhol.

02/05/24

[dreaminginthedeepsouth]

Duchamp bajando una escalera. Nueva York. 1952. Foto de Eliot Elisofon.

* * * *

“Non-verbal behaviour, language, facial expression, intonations and gestures are instrumental in establishing complex contradictory, predominantly emotional relations between people and between man and the world. How frequently a touch by the shoulder, a handshake or a look tell more than can be expressed in a long monologue. Not because our speech is not accurate enough. Just the contrary. It is precisely its accuracy and definiteness that make speech unsuited for expressing what is too complex, changeful and ambiguous.” ― Iain McGilchrist, The Master and His Emissary: The Divided Brain and the Making of the Western World

[slack-wise]

🙏

[nicecollection]

Simone Schardt - INFRA-mINce, 2023, Typewriter typography on paper, 25 x 17,5 cm

[jgthirlwell]

09.08.24 Treasures from the Pompidou Museum, Paris.

Magneli, Delaunay , Legere x 2, Duchamp, Brauner x 4, Constat, Schoffer x 2, Millares, Arman, Rancillac, Panton, Broodthaers, Raynaud, Aaron S. Davidson / Melissa Dubbin

[gregdotorg]

Marcel Duchamp minted over 300 editions of a slapdash drain stopper he made for his bathtub, in steel, silver, and bronze. This is the first I've seen that still had its little leather pouch, though.

[the-cricket-chirps]

Jacques Villon

Portrait of the Artist

1909

[redacted-metallum]

thoughts on Duchamp's Fountain (1917)?

My favorite part about it is that I don't even like it that much, but the fact that literally everybody lost their shit about it and lose their shit about it to this day is one of the funniest things about art and art history imo

Also multiple people have pissed in it. Which, genuinely, I think is what Duchamp would want.

Fountain (1917) is about finding beauty in everyday objects, it's about how the history of an artwork adds to its impact on the viewer, it's about being able to derail literally any conversation on what is "art", it's about pissing off fascists, it's about making you the viewer stop and consider what art truly is.

and, critically,

it's a fucking urinal on its side with the name R. Mutt and the year written on it.

(duchamp is, also, legitimately one of my favorite artists, up there with dali, varo, and magritte)

[jinsei-pika-pika]

[eiichiro-takita]

デュシャン風扇風機 Duchamp-style fan

Art on the Beach tripple091014 Beach of Nakijin Okinawa Island

[asysto-le]

My 2024 in books

I read the last Jane Austen novel I had left as I turned 30, I discovered Japanese literature and I played some of the most interesting plays inside my bedroom, as I fell even more in love with Guimerà, I also travelled the Perdido route, and I lived, laughed and loved art with Duchamp.

[absurdlakefront]

Portrait of Rrose Sélavy, 1920

Meet Rrose Sélavy: Marcel Duchamp’s Female Alter Ego

Rrose Sélavy first appeared in 1920, but the second ‘r’ in her name wasn’t added until 1921 when she added her signature to Francis Picabia’s collage L’Oeil Cacodylate. Soon after, she began appearing in photographs taken by Man Ray, fashion photographer, fellow artist and informal Dada compatriot. The perfect Duchampian character, Rrose brought to life the artist’s well-marked and symbolic use of language as well as all the playfulness and irony of Dadaism. Her name, a pun on the French adage “Eros, c’est la vie,” has inspired everything from collections of surrealist poetry to an oyster bar in Manhattan.

Rrose personified everything about Duchamp’s art, from its wit and its ersatz aesthetic to its erotic undertones. A living, breathing double entendre, she is a figurehead of New York’s short-lived answer to Dada, the irreverent European art movement with beginnings in Zürich’s Cabaret Voltaire. In Man Ray’s portraits she appears in several guises, at times moth-eaten and decidedly masculine, and later, stylish and more fluent in the cues of feminine allure. A murky example of the former appeared on a perfume bottle that Duchamp labelled Belle Haleine (Beautiful Breath). Beyond photographs, she lives on as the author of particular works throughout his career, from writings to the animated film Anemic Cinema.