Marcel Duchamp

Duchamp was associated with Dadaist and Surrealist painters in the 1920s and 1930s, while later in life one of the most he would admit to was that some of his work emerged "in the exact same spirit" as Dadaism (Cabanne 56). His painting Nude Descending a Staircase, famously rejected by a famously avant-garde Paris art salon in 1912 and subsequently, controversially valorized by the New York Armory Show in 1913, was extensively considered decisively representative of Cubism, if not foundational for ones whole of 20th-century contemporary art. But why it was foundational is instructive as well:

He was merely experimenting, seeing no virtue to create a habit of any a single style. He was outside artistic tradition not merely in shunning repetition but also in not attempting a prolific output or normal exhibition of his work. . . . A widely held belief is that Duchamp introduced in [Nude] a dimension of irony, nearly a mockery of painting itself, that was over anyone could bear and that undermined his own belief in painting. The title alone was a joke that was resented. Even the Cubists did their finest to flatter the eye, but Duchamp's only motive seemed to become provocation ("Duchamp").

What is relevant about Nude for this look for is that its creation, presentation, and reception marked the beginning of the pattern to Duchamp's task that was nothing so significantly being a departure from pattern.

They are the unsung aids that allow us to complete the jobs of maintaining home and body, so that we are better prepared to complete our other work, like doing art, such as (Molesworth 51).

According to Naumann, the Society then proceeded not to withdraw Fountain altogether but rather to display it a lot more or a smaller amount out of sight. Naumann explains:

The paradox on the readymade, which Duchamp formulates as irony, is that it is art on the degree the artist can make a situation for it. The case is made via context, original intent, and performance or exhibition. A readymade might be stated to fuse the material, formal, and efficient reasons to occur at a purposeful presentation. But that presentation itself, specifically if it's available with ironic intent, interrogates the very concept of what constitutes art; Ades, Cox, and Hopkins (152) say that the readymades have been conceived like a "challenge by example [to] modern-day assumptions for the nature of artistic creation," in addition to an activity in "expos[ing] the role of institutions and social groups in defining what counts as art." Along the same lines, Molesworth sees the influence from the readymade in general as obtaining "done a lot more to reorganize aesthetic categories than any other twentieth-century art practice." The created objects "made it clear that he thought of 'Art' was produced contextually" (Molesworth 51).

Duchamp's reputation as an established, daring, and respected artist, and also the emerging environment of experimental, modernist art, can also be observed being a core contextual element for any art that he may well have produced in his New York Period. Thus you are able to speculate that after in 1917 he submitted to a Society exhibition a readymade under the name of R. Mutt, and titled Fountain.

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