New York Dada
1916 - 1922
A view of the Armory Show, New York (1913).
The Armory Show, 1913
Francis Picabia
1879-1953
Francis Picabia. Udnie
(1913). Oil on canvas.
Francis Picabia. Very Rare
Picture on Earth (1915). Gilt
and silver paint with collage
of raised wood and cardboard
forms.
Francis Picabia. Tickets
(1915). Oil on canvas.
Francis Picabia. Amorous
Parade (1917). Oil on board.
Francis Picabia. Girl Born without a Mother (1916-18). Gouache and metallic paint on paper.
Francis Picabia.
Dada Movement (1919).
Ink on paper,
Francis Picabia. Take Me There
("M'Amenez-y“)1919-20.
Oil on cardboard.
Francis Picabia. The Match
Woman II (1920). Oil on
canvas with pasted match
sticks, hairpins, zippers and
coins.
Francis Picabia. Feathers
(1921). Oil, feathers, spaghetti,
buttons, pins, and coins on
washboard.
Francis Picabia.
Chapeau de Paille?
(1921). Oil, straw, and
pasted papers on canvas.
Francis Picabia. Conversation II (c. 1922).
Watercolor on composition board.
Marcel Duchamp
1887-1968
“I was more interested
in ideas—not merely in
visual products.”
Marcel Duchamp.
Landscape at Blainville
(1902). Oil on canvas.
Marcel Duchamp.
The Sonata (1911).
Oil on canvas.
Marcel Duchamp. A Game of Chess (1910). Oil on canvas.
Marcel Duchamp. Nude Descending
a Staircase, No. 2. (1912). Oil on
canvas.
The Rude Descending
a Staircase--Spoof
Marcel Duchamp.
Chocolate Grinder, No. 1
(1913). Oil on canvas.
A dry, precise perspective
study of a real object in the
style of an architectural
drawing similar to machine
illustration.
Marcel Duchamp.
Bicycle Wheel (1913).
Bicycle wheel on wooden stool.
Bicycle jack, from
S. Devere Burr,
Bicycle and Automotive
Repair. New York: David
Williams, 1912, p. 133.
Illustration from Bicycle
News, 4 (October 1915),
p. 16.
Marcel Duchamp. 3 Standard Stoppages (1913-14). Three threads, each
100 cm long, glued to canvas strips and mounted on three glass plates.
Duchamp’s Standard Meter
Based on chance: “…if a horizontal thread one meter long falls
from a height of one meter onto a horizontal plane twisting as it
pleases and creates a new image of the unit of length.”
Marcel Duchamp. Network of Stoppages (1914). Oil and
pencil on canvas.
Marcel Duchamp.
Bottle Rack (1914).
Galvanized iron bottle-dryer.
The original was lost when his
sister and sister-in-law threw
it out after Duchamp moved
to New York from Paris.
Marcel Duchamp.
The Bride Stripped
Bare by the Bachelors,
Even (The Large Glass),
1915. Oil, enamel, lead
paper, lead wire,
broken panes of glass.
The Bride’s Secret
This work follows a strict
symbolism, concerned primarily
with Duchamp’s childhood and
with archetypes. In many ways,
this work stems from mystical
and alchemical inspiration.
This diagram lists its principle
themes. The notes describe that his
"hilarious picture" is intended to
depict the erratic encounter
between the "Bride," in the upper
panel, and her nine "Bachelors"
gathered timidly below in an
abundance of mysterious
mechanical apparatus.
The Bride Stripped Bare by the
Bachelors, Even
http://www.understandingduchamp.com/
Click on the year 1923 and then to 4 for animated diagram
Marcel Duchamp. 9 Malic Moulds (1914-15).
Lead and stencil on glass.
Page from Manufacture Française
d’Armes et Cycles de Saint-Etienne
(Saint-Etienne, 1913).
9 Malic Moulds
“The idea is amusing because they are moulds. And to mould what?
Gas. That is, gas is introduced into the moulds, where it takes the
shape of the soldier, the department-store delivery boy, the cuirassier,
the policeman, the priest, the station master, etc., which are inscribed
on my drawing. Each is built on a common horizontal plane, where
lines intersect at the point of their sex.”
–from Dialogues with Marcel Duchamp, 1966 interview with Pierre
Cabanne.
Marcel Duchamp. Glider Containing a Water Mill in
Neighboring Metals (1913-1915).
Marcel Duchamp. The Bride
Stripped Bare by the Bachelors,
Even (The Large Glass), 1915.
Oil, enamel, lead paper, lead wire,
broken panes of glass.
Marcel Duchamp.
To Be Looked at (the
Other Side of the Glass)
with One Eye, Close to,
for Almost an Hour, 1918.
Oil, silver leaf, lead wire,
and magnifying lens on
glass (cracked), mounted
between panes of glass in
a standing metal frame
Marcel Duchamp.
With Hidden Noise
(1916). Ball of string
and hidden object.
Marcel Duchamp. Traveller’s Folding Item
(1916). Underwood typewriter cover.
Marcel Duchamp. Fountain (1917). Upturned porcelain urinal.
Marcel Duchamp. Fountain
(1917). Original work lost.
Photograph by Alfred Stieglitz.
Gelatin silver print.
Marcel Duchamp. Trap (1917). Coat hooks.
Marcel Duchamp. Hat Rack (1917). Wooden hat rack.
Marcel Duchamp. L.H.O.O.Q.
(1919). Color reproduction of the
Mona Lisa altered with pencil
Alfred Steiglitz.
Georgia O’Keeffe (1918).
Man Ray. Photograph of
Marcel Duchamp dressed
as Rrose Selavy (1920).
Marcel Duchamp. Belle Haleine, Eau de
Voilette (1921). Rectified readymade:
perfume bottle and oval cardboard box.
Marcel Duchamp.
Maquette for La Belle
Haleine Eau de Voilette
(1921). Photo collage.
Man Ray. Rose Selavy
(1920). Photograph.
Marcel Duchamp. Why Not Sneeze, Rrose Selavy? (original 1921, replica 1964).
Painted metal cage, marble cubes, thermometer, and cuttlebone.
Marcel Duchamp. Maquette
for Monte Carlo Bond (1924).
Photomontage on color lithograph. Photograph taken by
Man Ray.
One of thirty bonds issued for
the exploitation of a system to
break the bank in Monte Carlo.
Marcel Duchamp.
Rotary Demisphere (Precision Optics),1925.
Painted papier mâché demisphere fitted on
velvet-covered disk, copper collar with
plexiglass dome, motor, pulley, and metal stand,
Man Ray
1890 - 1976
Man Ray. The Rope Dancer Accompanies Herself with her
Shadows (1916). Oil on canvas.
Man Ray. Legend (1917). Oil
on cardboard.
Man Ray. Boardwalk (1917). Paint, painted
papers, discarded plywood, wood veneer,
wood knobs, and cord.
Man Ray. Danger/Dancer or
L’Impossibilité (1920).
Airbrush on glass.