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M A C H I N EF E B R U A R Y 1 3
Constantin Brancusi, Maiastra (1910-11)
Constantin Brancusi, Maiastra (1911)
Constantin Brancusi,
Maiastra (1912)
Bird in Space
1923
1923-4
1924 1925
1927 1931
Edward Steichen, Brancusi’s Bird in Space (1957-58)
Waite: What do you call this?
Waite: What do you call this?
Steichen: I use the same term the sculptor did, oiseau, a bird.
Waite: What do you call this?
Steichen: I use the same term the sculptor did, oiseau, a bird.
Waite: What makes you call it a bird, does it look like a bird to you?
Waite: What do you call this?
Steichen: I use the same term the sculptor did, oiseau, a bird.
Waite: What makes you call it a bird, does it look like a bird to you?
Steichen: It does not look like a bird but I feel that it is a bird, it is
Waite: What do you call this?
Steichen: I use the same term the sculptor did, oiseau, a bird.
Waite: What makes you call it a bird, does it look like a bird to you?
Steichen: It does not look like a bird but I feel that it is a bird, it is
characterized by the artist as a bird.
Waite: What do you call this?
Steichen: I use the same term the sculptor did, oiseau, a bird.
Waite: What makes you call it a bird, does it look like a bird to you?
Steichen: It does not look like a bird but I feel that it is a bird, it is
characterized by the artist as a bird.
Waite: Simply because he called it a bird does that make it a bird to you?
Waite: What do you call this?
Steichen: I use the same term the sculptor did, oiseau, a bird.
Waite: What makes you call it a bird, does it look like a bird to you?
Steichen: It does not look like a bird but I feel that it is a bird, it is
characterized by the artist as a bird.
Waite: Simply because he called it a bird does that make it a bird to you?
Steichen: Yes, your honor.
Waite: What do you call this?
Steichen: I use the same term the sculptor did, oiseau, a bird.
Waite: What makes you call it a bird, does it look like a bird to you?
Steichen: It does not look like a bird but I feel that it is a bird, it is
characterized by the artist as a bird.
Waite: Simply because he called it a bird does that make it a bird to you?
Steichen: Yes, your honor.
Waite: If you would see it on the street you never would think of
Waite: What do you call this?
Steichen: I use the same term the sculptor did, oiseau, a bird.
Waite: What makes you call it a bird, does it look like a bird to you?
Steichen: It does not look like a bird but I feel that it is a bird, it is
characterized by the artist as a bird.
Waite: Simply because he called it a bird does that make it a bird to you?
Steichen: Yes, your honor.
Waite: If you would see it on the street you never would think of
calling it a bird, would you?
Waite: What do you call this?
Steichen: I use the same term the sculptor did, oiseau, a bird.
Waite: What makes you call it a bird, does it look like a bird to you?
Steichen: It does not look like a bird but I feel that it is a bird, it is
characterized by the artist as a bird.
Waite: Simply because he called it a bird does that make it a bird to you?
Steichen: Yes, your honor.
Waite: If you would see it on the street you never would think of
calling it a bird, would you?
[Steichen: Silence]
Waite: What do you call this?
Steichen: I use the same term the sculptor did, oiseau, a bird.
Waite: What makes you call it a bird, does it look like a bird to you?
Steichen: It does not look like a bird but I feel that it is a bird, it is
characterized by the artist as a bird.
Waite: Simply because he called it a bird does that make it a bird to you?
Steichen: Yes, your honor.
Waite: If you would see it on the street you never would think of
calling it a bird, would you?
[Steichen: Silence]
Young: If you saw it in the forest you would not take a shot at it?
Waite: What do you call this?
Steichen: I use the same term the sculptor did, oiseau, a bird.
Waite: What makes you call it a bird, does it look like a bird to you?
Steichen: It does not look like a bird but I feel that it is a bird, it is
characterized by the artist as a bird.
Waite: Simply because he called it a bird does that make it a bird to you?
Steichen: Yes, your honor.
Waite: If you would see it on the street you never would think of
calling it a bird, would you?
[Steichen: Silence]
Young: If you saw it in the forest you would not take a shot at it?
Steichen: No, your honor.
“In the meanwhile there has been developing a so-called new school of art, whose exponents attempt to portray
abstract ideas rather than imitate natural objects. Whether or not we are in sympathy with these newer ideas and the schools which represent them, we think
the facts of their existence and their influence upon the art worlds as recognized by the courts must be
considered” - Judge Waite’s opinion
M A C H I N E
M A C H I N E
M A C H I N E
M A C H I N E
M A C H I N E
M A C H I N E
M A C H I N E
Marcel Duchamp, The Bride Stripped
Bare by her Bachelors, Even
(1915-23)
D A D A
D A D A
Zürich
D A D A
ZürichBerlin
D A D A
ZürichBerlin
New York
Cabaret Voltaire in Zürich
Hugo Ball reciting Karawane (1916)
Hugo Ball reciting Karawane (1916)
Hugo Ball reciting Karawane (1916)
July 1916 - Dada Manifesto, by Hugo Ball
July 1916 - Dada Manifesto, by Hugo Ball
Dada is a new tendency in art. One can tell this from the fact that until now nobody knew anything about it, and tomorrow everyone in Zurich will be talking about it. Dada comes from the dictionary. It is terribly simple. In French it means "hobby horse". In German it means "good-bye", "Get off my back", "Be seeing you sometime". In Romanian: "Yes, indeed, you are right, that's it. But of course, yes, definitely, right". And so forth.
July 1916 - Dada Manifesto, by Hugo Ball
July 1916 - Dada Manifesto, by Hugo Ball
An International word. Just a word, and the word a movement. Very easy to understand. Quite terribly simple. To make of it an artistic tendency must mean that one is anticipating complications. Dada psychology, dada Germany cum indigestion and fog paroxysm, dada literature, dada bourgeoisie, and yourselves, honoured poets, who are always writing with words but never writing the word itself, who are always writing around the actual point. Dada world war without end, dada revolution without beginning, dada, you friends and also-poets, esteemed sirs, manufacturers, and evangelists. Dada Tzara, dada Huelsenbeck, dada m'dada, dada m'dada dada mhm, dada dera dada, dada Hue, dada Tza.
July 1916 - Dada Manifesto, by Hugo Ball
July 1916 - Dada Manifesto, by Hugo Ball
How does one achieve eternal bliss? By saying dada. How does one become famous? By saying dada. With a noble gesture and delicate propriety. Till one goes crazy. Till one loses consciousness. How can one get rid of everything that smacks of journalism, worms, everything nice and right, blinkered, moralistic, europeanised, enervated? By saying dada. Dada is the world soul, dada is the pawnshop. Dada is the world's best lily-milk soap. Dada Mr Rubiner, dada Mr Korrodi. Dada Mr Anastasius Lilienstein. In plain language: the hospitality of the Swiss is something to be profoundly appreciated. And in questions of aesthetics the key is quality.
Tristan Tzara, To Make a Dadaist Poem (1920)
Jean (Hans) Arp, Squares Arranged
According to the Laws of Chance (1916-17)
Jean (Hans) Arp, Squares Arranged
According to the Laws of Chance (1916-17)
“To put out a manifesto you must want: ABC To fulminate against 1, 2, 3,
To fly into a rage and sharpen your wings to conquer and disseminate little abcs and big abcs, to sign, shout, swear, to organize prose into a form of absolute and
irrefutable evidence…”
-Tristan Tzara, Dada Manifesto 1918
“And so Dada was born of a need for independence, of a distrust toward unity…We recognize no theory. We
have enough cubist and futurist academies: laboratories of formal ideas. Is the aim of art to make money and
cajole the nice nice bourgeois?”
“Freedom: Dada Dada Dada, a roaring of tense colors, and interlacing of opposites and of all contradictions,
grotesques, inconsistencies: LIFE”
-Tristan Tzara, Dada Manifesto 1918
Marcel Duchamp in: Man Ray, Rrose Sélavy (1921)
Marcel Duchamp 1887-1968
Alfred StieglitzBaroness Elsa von Freytag-
Loringhoven
Francis Picabia
Man Ray (Emmanuel Radnitzky)
Marcel Duchamp, Nude Descending a Staircase #2 (1912)
Marcel Duchamp, Nude Descending a Staircase #2 (1912)
Marcel Duchamp, Nude Descending a Staircase #2 (1912)
Marey
Muybridge, Woman Walking Downstairs (1887)
Muybridge, Woman Walking Downstairs (1887)
Marcel Duchamp, Bottle Rack (1914)
“We have seen that the production of the autonomous work of art is the act of an individual…In its most extreme manifestations, the avant-garde’s reply to this is not the collective as the subject of production but the radical negation of the category of individual creation.”
-Peter Bürger
Marcel Duchamp, Fountain (1917)
Anonymous article in The Blind Man # 2, May 1917. Written by Beatrice Wood, H.P. Roché and/or Marcel Duchamp.
The Richard Mutt Case They say any artist paying six dollars may exhibit. Mr. Richard Mutt sent in a fountain. Without discussion this article disappeared and was never exhibited. What were the grounds for refusing Mr. Mutt's fountain: 1. Some contend it was immoral, vulgar. 2. Others, it was plagiarism, a plain piece of plumbing. Now Mr. Mutt's fountain is not immoral, that is absurd, no more than a bath tub is immoral. It is a fixture that you see every day in plumbers' show windows. Whether Mr. Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under a new title and point of view – created a new thought for that object. As for plumbing, that is absurd. The only works of art America has given are her plumbing and her bridges.
Whether Mr. Mutt with his own hands made the fountain or not has no
importance. He CHOSE it. He took an ordinary article of life, placed it so that
its useful significance disappeared under a new title and point of view –
created a new thought for that object.
Marcel Duchamp, Fountain (1917)
Marcel Duchamp, Bicycle Wheel (original, 1913)
Marcel Duchamp, Bicycle Wheel (original, 1913)
“When the avant-gardistes demand that art become practical once again, they do not mean that the contents of works of art should be socially significant…Rather, it directs itself to the way art functions in society, a process that does as much to determine the effect that works have as does the particular content.”
-Peter Bürger
Marcel Duchamp, L.H.O.O.Q. (1919)
Marcel Duchamp and
Walter Arensberg,
With Hidden Noise (1916)
Marcel Duchamp, Why Not Sneeze Rose Sélavy (orig.
1921)
Man Ray, Rrose Sélavy (1921)
Marcel Duchamp, Why Not Sneeze Rose Sélavy (orig.
1921)
Raoul Hausmann, Mechanical Head (The Spirit of Our
Time) (1920)
Raoul Hausmann, Mechanical Head (The Spirit of Our
Time) (1920)
The average German “has no more capabilities than those which chance has glued on the outside of his skull; his brain remains empty” Hausmann
Francis Picabia, Here, This is Stieglitz Here
(1915)
Francis Picabia, Portrait of a Young American Girl in a
State of Nudity (1915)
Francis Picabia, Udnie (Young American Girl,
the Dance) (1913)
Francis Picabia, I See Again in
Memory My Dear Udnie (1914)
Mechanomorphs
Francis Picabia, Machine Turn Quickly
(1916-1918)
Marcel Duchamp, The Bride Stripped
Bare by her Bachelors, Even
(1915-23)
Man/Machine
Man/MachineSexuality
Man/MachineSexuality
Play
Man/MachineSexuality
PlayChance
Duchamp’s Green Box
The Bride’s Domain
Duchamp, Transition of Virgin into Bride (1912)
Duchamp, The Bride (1912)
Indecision
Indecision
Being stuck or restricted
Indecision
Being stuck or restricted
Need emotional release
the “sex cylinder” and draught pistons
the “nine shots”
The Bachelor Apparatus
Nine Malic Molds “The Bachelors”
Marcel Duchamp, Nine Malic Moulds (Second Version) (1914-15 original, this replica 1963)
Marcel Duchamp, Cemetery of Uniforms
and Liveries no. 2 (1914)
Water Mill
Chocolate Grinder
Marcel Duchamp, Chocolate
Grinder no. 1 (1913)
Marcel Duchamp, Chocolate Grinder
no. 2 (1914)
Marcel Duchamp, Chocolate Grinder
no. 2 (1914)
