* Betacourt, Michael: " The Richard Mutt Case: Looking for Marcel Duchamp's Fountain "

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 Artists in New York ( it was rejected ).

Max Ernst's Une Semaine de Bonté ( 1934 ), collaging found images from Victorian books, is a famous example, as is Marcel Duchamp's cover for Le Surréalisme ( 1947 ) featuring a tactile three-dimensional pink breast made of rubber.

The post at the ICA also afforded Hamilton the time to further his research on Duchamp, which resulted in the 1960 publication of a typographic version of Duchamp's Green Box, which comprised Duchamp's original notes for the design and construction of his famous work The Bride Stripped Bare by Her Bachelors, Even, also known as The Large Glass.

The explicitness of the picture may have served as an inspiration, albeit with a satirical twist, for Marcel Duchamp's last major work, Étant donnés ( 1946 – 1966 ), a construction also featuring the image of a woman lying on her back, legs spread apart.

Duchamp's ideas for the Glass began in 1913, and he made numerous notes and studies, as well as preliminary works for the piece.

Duchamp's art does not lend itself to simple interpretations, and The Large Glass is no exception ; the notes and diagrams he produced in association with the project – ostensibly as a sort of guidebook – complicate the piece by, for example, describing elements that were not included in the final version as though they nevertheless exist, and " explaining " the whole assembly in stream-of-consciousness prose thick with word play and jokes.

Anti-art has become generally accepted by the artworld to be art, although some people still reject Duchamp's readymades as art, for instance the Stuckist group of artists, who are " anti-anti-art ".

After attending the Armory Show and seeing Marcel Duchamp's Nude Descending a Staircase, President Theodore Roosevelt wrote ( using his own, also valid translation ): " Take the picture which for some reason is called ' A Naked Man Going Down Stairs '.

The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal, even amongst the Cubists.

In 1940 he stole Rene Duchamp's suitcase, thinking he was a German officer.

Also contributing to the randomness of events was the integration of audience members into the performances, realizing Duchamp's notion of the viewer completing the art work.

He further argues that the " change from ' appearance ' to ' conception ' ( which begins with Duchamp's first unassisted readymade ) was the beginning of ' modern art ' and the beginning of ' conceptual art '.

While Marcel Duchamp caused uproar with his Fountain, which was not accepted as " art " at the time of its release due to Duchamp's attempt to mask the urinals true form, Nevelson took found objects and by spray painting them she disguised them of their actual use or meaning.

When Duchamp's idea to despatch his urinal to the first show of the Society of Independent Artists was rejected, both he and Arensberg felt obliged to resign from the society.

This was a historical reference to Marcel Duchamp's use of the same length of string to create a web inside a gallery in 1942.

* Marcel Duchamp's artwork The Bride Stripped Bare by Her Bachelors, Even ( La mariée mise à nu par ses célibataires, même or The Large Glass ) is completed in the United States.

Considered by some to be one of the most important artists of the 20th century, Duchamp's output influenced the development of post-World War I Western art.

The second flux anthology, the Fluxkit ( late 1964 see ), collected together early 3D work made by the collective in a businessman's case, an idea borrowed directly from Duchamp's Boite en Valise ( see ).

Duchamp's brother, who went by the " nom de guerre " Jacques Villon, also exhibited, sold all his Cubist drypoint etchings, and struck a sympathetic chord with New York collectors who supported him in the following decades.

Other key influences noted by Maciunas included the happenings that had occurred at the Black Mountain College involving Robert Rauschenberg, John Cage, David Tudor, Merce Cunningham and others ; the Nouveaux Réalistes ; the Concept Art of Henry Flynt and Marcel Duchamp's notion of the readymade.

Gleizes exhibited at the 1912 Salon des Indépendants ; a show marked by Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal even amongst the Cubists.

Similar to Duchamp's readymades, yulem objects are " never dictated by aesthetic delectation.

Duchamp's ready-mades are still regarded as anti-art by the Stuckists, who also say that anti-art has become conformist, and describe themselves as anti-anti-art.

She also served as an honorary trustee of the Philadelphia Museum of Art, which has by far the largest collection of Duchamp's work.

Important to mention is Marcel Duchamp's interest in anamorphosis, some of his installations are paraphrases of anamorphoses ( See The Bride Stripped Bare by Her Bachelors, Even / The Large Glass ).

The piece is placed in the Philadelphia Museum of Art gallery beside The Green Box, the selection of Duchamp's own notes on The Large Glass.

Like Duchamp's ' ready mades ' - manufactured objects which qualified as art because he chose to call them such, the most unremarkable and inappropriate items-a pin, a plastic clothes peg, a television component, a razor blade, a tampon-could be brought within the province of punk ( un ) fashion ... Objects borrowed from the most sordid of contexts found a place in punks ' ensembles ; lavatory chains were draped in graceful arcs across chests in plastic bin liners.

Among the scandalously radical works of art, pride of place goes to Marcel Duchamp's cubist / futurist style Nude Descending a Staircase, painted the year before, in which he expressed motion with successive superimposed images, as in motion pictures.

Beginning in 1913 Marcel Duchamp's readymades challenged individual creativity and redefine art as a nominal rather than an intrinsic object.

In Paris, Ginsberg and Corso met their heroes Tristan Tzara, Marcel Duchamp, Man Ray, and Benjamin Péret, and to show their admiration Ginsberg kissed Duchamp's feet and Corso cut off Duchamp's tie.

Marcel Duchamp's Fountain ( Duchamp ) | Fountain ( 1917 ), an inverted urinal signed " R. Mutt ".

Aphorism 13 paid homage to Marcel Duchamp: " Rrose Sélavy connaît bien le marchand du sel " English language | English: " Rrose Sélavy knows the merchant of salt well "; in French language | French the final words sound like Mar-champ Du-cel -- Duchamp's compiled notes are titled ' Salt Seller '.

Duchamp first submitted the work to appear in a Cubist show at the Salon des Indépendants in Paris, but jurist Albert Gleizes asked Duchamp's brothers, Jacques Villon and Raymond Duchamp-Villon, to have him voluntarily withdraw the painting, or paint over the title that he had painted on the work and rename it something else.

" The piece is more in line with the scatological aesthetics of Duchamp's friend and neighbour, the Baroness Elsa von Freytag-Loringhoven, than Duchamp's.

According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face.

Another such example is Marcel Duchamp's Why Not Sneeze, Rose Sélavy ?, consisting of a small birdcage containing a thermometer, cuttlebone, and 151 marble cubes resembling sugar cubes.

" A mathematical analysis of Marcel Duchamp's The Large Glass, expressed in terms of Kurt Weill and Bertolt Brecht's opera Rise and Fall of the City of Mahagonny " upon which it is loosely based.

A famous example is Marcel Duchamp's Fountain ( 1917 ), an inverted urinal signed " R. Mutt ".

She concludes that Duchamp's " Large Glass is also a critique of the very criticism it inspires, mocking the solemnity of the explicator who is determined to find the key " ( 34 ).

According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face.