1. DADA
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2. Marcel Duchamp
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3. Marcel Duchamp playing chess in 1952
Marcel Duchamp playing chess in (Kay Bell Reynal photo in theSmithsonian Institution Archives of American Art.)
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4. Three Duchamp brothers, left to right: Marcel Duchamp, Jacques Villon, and Raymond Duchamp-Villon in the garden of Jacques Villon's studio in Puteaux, France, 1914 Smithsonian Institution collections
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5. Marcel Duchamp. Nude Descending a Staircase, No. 2 (1912).
Oil on canvas. 57 7/8" x 35 1/8". Philadelphia Museum of Art
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6. FOUNTAIN, 1917 (New York) Readymade: urinal, purchased from "Motts Works" company in new York and signed "R. Mutt". Original 1917 lost. The photograph reproduced here was taken by Alfred Stieglitz shortly after Fountain was rejected by the jury. The photograph was used as an illustration in The Blind Man, May 1917.
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7. Marcel Duchamp, Bottle Dryer, 1914/1964
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8. ROUE DE BICYCLETTE, 1913 [Bicycle Wheel] 64. 8 cm
ROUE DE BICYCLETTE, 1913 [Bicycle Wheel] 64.8 cm. diameter, mounted on painted wooden stool (60.2 cm. high). The original 1913 was left behind when Duchamp sailed to New York in He made a replica in 1916 (also lost). In 1951 he made a third version for the exhibition 'Climax in 20th Century Art, 1913'
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9. My idea was to choose an object that wouldn't attract me, either by its beauty or by its ugliness. To find a point of indifference in my looking at it, you see. Duchamp Interview, BBC TV, 1966
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10. PARIS AIR, 1919 or AIR DE PARIS (50 cc of Paris Air) Readymade
PARIS AIR, 1919 or AIR DE PARIS (50 cc of Paris Air) Readymade. The original is broken and later restored. Now housed at The Philadelphia Museum of Art, Philadelphia. The Louise and Walter Arensberg Collection.
In 1949 another copy was selected by Henri-Pierre Roché at Duchamps request to replace the broken original. In 1963 a replica was made for the Marcel Duchamp retrospective, Moderna Museet Stckholm. A replica is in the 1964 Arturo Schwarz edition.
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11. Why Not Sneeze, Rose Sélavy (
Why Not Sneeze, Rose Sélavy (?) 1921 Painted metal birdcage, wood, marble cubes, porcelain dish, thermometer, cuttlebone 4 7/8 x 8 3/4 x 6 3/8 inches (12.4 x 22.2 x 16.2 cm)
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12. L. H. O. O. Q. , 1919 or MONA LISA Paris
L.H.O.O.Q., 1919 or MONA LISA Paris. Rectified readymade: pencil on a reproduction (19.7 x 12.4 cm.). Original in private collection, Paris. A reproduction was made in 1920 and published in 391 (March 1920). Later Duchamp drew in the missing beard and added an inscription at the bottom: "Moustaches par Picabia, barbe par Marcel Duchamp". The name of the piece, L.H.O.O.Q. (in French èl ache o o qu), is a pun, since the letters when pronounced in French form the sentence "Elle a chaud au cul", which can be roughly translated as "She has a hot ass".
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13. Rose Sélavy (Marcel Duchamp). 1921. Photograph by Man Ray
Rose Sélavy (Marcel Duchamp) Photograph by Man Ray. Art Direction by Marcel Duchamp. Silver print. 5-7/8" x 3"-7/8". The Philadelphia Museum of Art, Philadelphia.
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14. La Mariée mise à nu par ses célibataires, même [The Bride Stripped Bare by Her Bachelors, Even (the Large Glass)]
Made in United States, North and Central America
Oil, varnish, lead foil, lead wire, and dust on two glass panels 109 1/4 x 70 x 3 3/8 inches (277.5 x x 8.6 cm)
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16. Made in Paris, France, Europe 1932
The Box of 1932 Manuscript for Opposition and Sister Squares are Reconciled by M. Duchamp & V. Halberstadt
Made in Paris, France, Europe 1932
Commercial cardboard box bearing label Old England, containing typed and handwritten manuscripts, proofs, and diagrams for Opposition and Sister Squares are Reconciled by M. Duchamp & V. Halberstadt (Brussels: L'Echiquier/Edmond Lancel, 1932) and one drawing, The King Checked by the Queen Box: 11 3/4 x 18 1/4 x 3 1/2 inches (29.8 x 46.4 x 8.9 cm)
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17. Mixed media assemblage: (exterior) wooden door, iron nails, bricks, and stucco; (interior) bricks, velvet, wood, parchment over an armature of lead, steel, brass, synthetic putties and adhesives, aluminum sheet, welded steel-wire screen, and wood; Peg-Board, hair, oil paint, plastic, steel binder clips, plastic clothespins, twigs, leaves, glass, plywood, brass piano hinge, nails, screws, cotton, collotype prints, acrylic varnish, chalk, graphite, paper, cardboard, tape, pen ink, electric light fixtures, gas lamp (Bec Auer type), foam rubber, cork, electric motor, cookie tin, and linoleum 95 1/2 x 70 x 49 inches (242.6 x x cm)
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18. Etant donnes, 1946–1966 Mixed media, Philadelphia Museum of Art
Etant donnes, 1946–1966 Mixed media, Philadelphia Museum of Art. This was posthumously and permanently installed in the museum in 1969
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19. Feuille de vigne femelle (Female Fig Leaf) 1961 cast of 1950 copper-electroplated plaster original Bronze, 3 1/2 x 5 3/4 x 5 inches (8.9 x 14.6 x 12.7 cm)
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20. CABARET VOLTAIRE
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21. Cabaret Voltaire, Spiegelgasse 1, Zurich [photographed in 1935; collection Baugeschichtliches Archiv Zürich].
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23. Francis Picabia
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24. Francis Picabia, 1919, inside Danse de Saint-Guy
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25. Ici, c'est ici Stieglitz, foi et amour, cover of291, No1, 1915
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26. Voilà Haviland (La poésie est comme lui), Portrait mécanomorphe de Paul B. Haviland, 1915
Musée d'Orsay
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27. Tempera on paper Machine Turn Quickly, 1916-1918
National Gallery of Art
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28. Ink on paper, 31.8 x 23 cm, Tate, London
Réveil Matin (Alarm Clock), 1919
Ink on paper, 31.8 x 23 cm, Tate, London
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29. Réveil Matin (Alarm Clock), Dada 4-5, Number 5, 15 May 1919
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30. Dada Movement, Dada, Number 5, 15 May 1919
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31. (Left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center)Portrait d'une jeune fille américaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin, New York, 1915
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32. L'oeil cacodylate. 1921
Oil and collage on canvas, x 117.4 cm, Musée National d'Art Moderne, Paris
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33. Hugo Ball
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34. Hugo Ball performing at Cabaret Voltaire in 1916
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35. Text of Hugo Ball's 'Karawane'
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36. Hugo Ball in performance, 1917 (source unknown)
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37. DADA Messe. 1920
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38. Cover of the exhibition catalogue First International Dada Fair (Erste Internationale Dada-Messe), John Heartfield and Wieland Herzfelde editors, Otto Burchard and Malik-Verlag, July Photolithograph (31 x 39 cm) [source: International Dada Archive].
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39. Raoul Hausmann und Hannah Höch at the First International Dada Fair Berlin, [source: Collection Hannah-Höch-Archiv, Berlinische Galerie, Berlin. Photo: Robert Sennecke]
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41. First International Dada Fair
First International Dada Fair. Galerie Otto Burchard, Berlin, 30 June-25 August Right to left, Raoul Hausmann, (seated) Hannah Höch, Otto Burchard, Johannes Baader, Wieland Herzfelde, Mrs Herzfelde, (seated) Otto Schmalhausen, George Grosz and John Heartfield. Hanging from the ceiling is John Heartfield and Rudolf Schlichter's Prussian Archangel. On the back wall George Grosz's painting Germany. A Winter's Tale [Photograph Bildarchiv Preussischer Kulturbesitz, Berlin].
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42. Das große Plasto-Dio-Dada-Drama: DEUTSCHLANDS GROESSE UND UNTERGANG durch Lehrer Hagendorf oder Die phantastische Lebensgeschichte des Oberdada Verlegt bei PAUL STEEGEMANN, ERNST ROWOHLT und KURT WOLFF (Hannover, Berlin und München)
Photograph of Baader's Große Plasto-Dio-Dada-Drama at the 'Erste Internationale Dada-Messe' (July 1-August 25, 1920). Photo: Archives Andréi B. Nakov, Paris.
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43. Hannan Hoch
Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919
Collage of pasted papers, 90x144 cm, Nationalgalerie, Staatliche Museen zu Berlin
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44. Raoul Hausmann, ABCD (Self-portrait) A photomontage from 1923-24
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45. Raoul Hausmann, Mechanischer Kopf (Der Geist unserer Zeit) (Mechanical Head [The Spirit of Our Age]), c. 1920
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46. George Grosz
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48. Republican Automatons. 1920
Watercolor on paper
Museum of Modern Art, New York
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