An Overview of the Seventeen Known Versions of Fountain
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The Street—Design for a Poster
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz (editor/publisher) after Various Artists Alfred Stieglitz American, 1864 - 1946 The Street—Design for a Poster 1900/1901, printed 1903 photogravure image: 17.6 × 13.2 cm (6 15/16 × 5 3/16 in.) Alfred Stieglitz Collection 1949.3.1270.34 Key Set Number 266 Image courtesy of the Philadelphia Museum of Art KEY SET ENTRY Related Key Set Photographs The Street—Design for a Poster 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz Alfred Stieglitz The Street, Fifth Avenue Fifth Avenue—30th Street 1900/1901, printed 1903/1904 1900/1901, printed 1929/1937 photogravure gelatin silver print Key Set Number 267 Key Set Number 268 same negative same negative Remarks The date is based on stylistic similarities to Spring Showers—The Street Cleaner (Key Set number 269) and Spring Showers—The Coach (Camera Notes 5:3 [January 1902], pl. A). This photograph was made at Fifth Avenue and 30th Street with a Bausch & Lomb Extra Rapid Universal lens, and won a grand prize of $300 in the 1903 “Bausch & Lomb Quarter-Century Competition”(see Camera Work 5 [January 1904], 53; and The American Amateur Photographer 16 [February 1904], 92). Lifetime Exhibitions A print from the same negative—perhaps a photograph from the Gallery’s collection—appeared in the following exhibition(s) during Alfred Stieglitz’s lifetime: 1903, Hamburg (no. 424, as The Street, photogravure) 1903, San Francisco (no. 34a, as The Street—Winter) 1904, Washington (no. -
Artist Resources – Alfred Stieglitz (American, 1864-1946)
Artist Resources – Alfred Stieglitz (American, 1864-1946) Alfred Stieglitz Collection and Archive, Art Institute of Chicago The Key Set Stieglitz Collection, National Gallery of Art Stieglitz at The Getty Stieglitz and Camera Work collection, Princeton University Art Museum Explore The National Gallery’s timeline of all known Stieglitz exhibitions, spanning from 1888 to 1946. View archival documents from MoMA’s 1947 exhibition, which comprised two floors and paired Stieglitz’s photography with his private art collection. The following year, MoMA introduced Photo-Secession (American Photography 1902-1910), organized by surviving co-founder Edward Steichen and featuring photography from the the journal Camera Work. The 1999 PBS American Master’s documentary, Alfred Stieglitz: The Eloquent Eye, charts the photographer’s immense influence and innovation, featuring intimate interviews with his widow, the painter Georgia O’Keefe, museum curators, and scholars. “What is of greatest importance is to hold a moment, to record something so completely that those who see it will relive an equivalent of what has been expressed,“ Stieglitz reflects in recorded audio of his writing, which is threaded throughout the film. Stieglitz, 1934 Photographer: Imogen Cunningham Smithsonian Magazine profiled Stieglitz in 2002 in honor of The National Gallery’s retrospective. Stieglitz was the subject of the NGA’s first exhibition dedicated exclusively to photography, in 1958. In 2011, The Metropolitan Museum of Art debuted the first large-scale exhibition of Stieglitz’s personal collection, acquired by the museum in 1949. Over 200 works display the photographer’s influence with his contemporaries and successive generations, including, among others, works by: Georgia O'Keeffe, Pablo Picasso, Henri Matisse, Constantin Brancusi, Vasily Kandinsky, and Francis Picabia. -
Cubism in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop most important revolution in the history of ment of what came to be called Cubism art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance. -
HARD FACTS and SOFT SPECULATION Thierry De Duve
THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between. -
Duchamp's Readymades
INTRODUCTION: DUCHAMP’S READYMADES — A REEVALUATION In a poll conducted for Gordon’s Gin, the 2004 sponsor of the Turner Prize, a large majority of the 500 leading artists, dealers, critics and curators surveyed named Marcel Duchamp’s Fountain (Fig. 1.8) the work of art that has had the highest impact on contemporary art today. The urinal that in April 1917 was turned around, signed R. Mutt, handed in to but then refused (or at least displaced) from the exhibition of the Society of Independent Artists in New York still seems to mock and destabilize the whole horizon of expectance that works of art generate: skill, originality, taste, aesthetic value, difference from utilitarian technology, distance from bodily functions, even stable objecthood. Although many observers worry that the art institution has long since domesticated and commercialized the avant-gardist riot that Fountain took part in initiating, this object—albeit lost almost immediately after it was conceived—retains its status as an ever- flowing source for the disruptive and subversive energy in which contemporary art forms, at least desire to, participate. Whereas its closest competitor in the same poll, Picasso’s Les Demoiselles d’Avignon from 1907, makes its revolution still in the domain of form—as if, in Braque’s words, Picasso had drunk petroleum in order to spit fire at the canvas—Fountain and its small family of other readymades make their riot by completely abandoning the battlefield of forms, what Duchamp termed the retinal. On the one hand, by appropriating pieces of technology that were not produced by Duchamp himself but by machines—a urinal, a bottle dryer, a dog comb, a snow shovel, an art reproduction, and so on—the readymades bring attention to what we could call the thingness of art: that despite all the transformations to which the artist can subject artistic materials, there is still a leftover of something pre-given, a naked materiality imported from the real, non-imaginary world. -
Futurism-Anthology.Pdf
FUTURISM FUTURISM AN ANTHOLOGY Edited by Lawrence Rainey Christine Poggi Laura Wittman Yale University Press New Haven & London Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Published with assistance from the Kingsley Trust Association Publication Fund established by the Scroll and Key Society of Yale College. Frontispiece on page ii is a detail of fig. 35. Copyright © 2009 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Nancy Ovedovitz and set in Scala type by Tseng Information Systems, Inc. Printed in the United States of America by Sheridan Books. Library of Congress Cataloging-in-Publication Data Futurism : an anthology / edited by Lawrence Rainey, Christine Poggi, and Laura Wittman. p. cm. Includes bibliographical references and index. ISBN 978-0-300-08875-5 (cloth : alk. paper) 1. Futurism (Art) 2. Futurism (Literary movement) 3. Arts, Modern—20th century. I. Rainey, Lawrence S. II. Poggi, Christine, 1953– III. Wittman, Laura. NX456.5.F8F87 2009 700'.4114—dc22 2009007811 A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments xiii Introduction: F. T. Marinetti and the Development of Futurism Lawrence Rainey 1 Part One Manifestos and Theoretical Writings Introduction to Part One Lawrence Rainey 43 The Founding and Manifesto of Futurism (1909) F. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Before Zen: the Nothing of American Dada
Before Zen The Nothing of American Dada Jacquelynn Baas One of the challenges confronting our modern era has been how to re- solve the subject-object dichotomy proposed by Descartes and refined by Newton—the belief that reality consists of matter and motion, and that all questions can be answered by means of the scientific method of objective observation and measurement. This egocentric perspective has been cast into doubt by evidence from quantum mechanics that matter and motion are interdependent forms of energy and that the observer is always in an experiential relationship with the observed.1 To understand ourselves as in- terconnected beings who experience time and space rather than being sub- ject to them takes a radical shift of perspective, and artists have been at the leading edge of this exploration. From Marcel Duchamp and Dada to John Cage and Fluxus, to William T. Wiley and his West Coast colleagues, to the recent international explosion of participatory artwork, artists have been trying to get us to change how we see. Nor should it be surprising that in our global era Asian perspectives regarding the nature of reality have been a crucial factor in effecting this shift.2 The 2009 Guggenheim exhibition The Third Mind emphasized the im- portance of Asian philosophical and spiritual texts in the development of American modernism.3 Zen Buddhism especially was of great interest to artists and writers in the United States following World War II. The histo- ries of modernism traced by the exhibition reflected the well-documented influence of Zen, but did not include another, earlier link—that of Daoism and American Dada. -
Cubism Futurism Art Deco
20TH Century Art Early 20th Century styles based on SHAPE and FORM: Cubism Futurism Art Deco to show the ‘concept’ of an object rather than creating a detail of the real thing to show different views of an object at once, emphasizing time, space & the Machine age to simplify objects to their most basic, primitive terms 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Pablo Picasso 1881-1973 Considered most influential artist of 20th Century Blue Period Rose Period Analytical Cubism Synthetic Cubism 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Early works by a young Picasso Girl Wearing Large Hat, 1901. Lola, the artist’s sister, 1901. 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Blue Period (1901-1904) Moves to Paris in his late teens Coping with suicide of friend Paintings were lonely, depressing Major color was BLUE! 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Blue Nude, 1902. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Self Portrait, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Tragedy, 1903. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Le Gourmet, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s work at the National Gallery (DC) 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Rose Period (1904-1906) Much happier art than before Circus people as subjects Reds and warmer colors Pablo Picasso, Harlequin Family, 1905. ROSE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Pablo Picasso, La Familia de Saltimbanques, 1905. -
1874 – 2019 • Impressionism • Post-Impressionism • Symbolism
1874 – 2019 “Question: Why can’t art be beautiful instead of fascinating? Answer: Because the concept of beautiful is arguably more subjective for each viewer.” https://owlcation.com/humanities/20th-Century-Art-Movements-with-Timeline • Impressionism • Dada • Post-Impressionism • Surrealism • Symbolism • Abstract Expressionism • Fauvism • Pop Art • Expressionism • Superrealism • Cubism • Post-Modernism • Futurism • Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter • Post-Impressionism is an art movement that developed in the 1890s. It is characterized by a subjective approach to painting, as artists opted to evoke emotion rather than realism in their work • Symbolism, a loosely organized literary and artistic movement that originated with a group of French poets in the late 19th century, spread to painting and the theatre, and influenced the European and American literatures of the 20th century to varying degrees. • Fauvism is the style of les Fauves (French for "the wild beasts"), a group of early twentieth- century modern artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. • Expressionism is a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. ... Expressionist artists have sought to express the meaning of emotional experience rather than physical reality. • Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. -
The Most Important Works of Art of the Twentieth Century
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Most Important Works of Art of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5786 Chapter 3: The Most Important Works of Art of the Twentieth Century Introduction Quality in art is not just a matter of private experience. There is a consensus of taste. Clement Greenberg1 Important works of art embody important innovations. The most important works of art are those that announce very important innovations. There is considerable interest in identifying the most important artists, and their most important works, not only among those who study art professionally, but also among a wider public. The distinguished art historian Meyer Schapiro recognized that this is due in large part to the market value of works of art: “The great interest in painting and sculpture (versus poetry) arises precisely from its unique character as art that produces expensive, rare, and speculative commodities.”2 Schapiro’s insight suggests one means of identifying the most important artists, through analysis of prices at public sales.3 This strategy is less useful in identifying the most important individual works of art, however, for these rarely, if ever, come to market. An alternative is to survey the judgments of art experts. One way to do this is by analyzing textbooks. -
The Stieglitz Revolution the Art Show February 28-March 5, 2018 / Booth B12
THE STIEGLITZ REVOLUTION THE ART SHOW FEBRUARY 28-MARCH 5, 2018 / BOOTH B12 Artist, Rebel, Publisher, Philosopher, Promoter and pioneering Gallerist, Alfred Stieglitz (1864- 1946) played the starring role in the emergence and development of American Modernism. In the early years, Stieglitz fostered the pictorialist photography movement, while bringing the most important European avant-garde artists to American shores and the attention of collectors and artists (names such as Cézanne, Rodin, Matisse, Braque, Picasso, Brancusi, Picabia and Severini). Later, he established and promoted the central canonical group of American modernists, including Bluemner, Lachaise, Maurer, Nadelman and Walkowitz. Stieglitz used every imaginable resource to showcase the foundational artists of modernism, and allow the artists he gathered around him to develop a singularly American response to the avant-garde ideas of the early STIEGLITZ’S GALLERIES THE LITTLE GALLERIES OF THE PHOTO-SECESSION 20th century. (“291”) 1905-1917 After 1915, he principally championed American 291 Fifth Avenue (moves to 293 Fifth Avenue in 1908) modernists and the “7 Americans”, formalized ANDERSON GALLERIES 1921-1925 in a 1925 exhibition presenting the work of 489 Park Avenue Demuth, Dove, Hartley, Marin, O’Keeffe, THE INTIMATE GALLERY Strand and Stieglitz himself. His publications, 1925-1929 489 Park Avenue, Room 303 including the influential Camera Work, were instrumental in disseminating his ideas about AN AMERICAN PLACE 1929-1946 photography and modern art to a general public. 509 Madison Avenue, Room 1710 Through his succession of galleries from 1905- 1946, the artists Stieglitz exhibited and the ideas he promoted changed the course of 20th century art in America.