Friday, February 25, 2011

Indestructible Objects

Meret Oppenheim, Fur Gloves, 1936

Wilhelm Freddie, Zola's Writing Desk, 1936 

 Marcel Duchamp / Enrico Donati, Prière de Toucher (Please Touch), 1947

Meret Oppenheim, Turkey shoes, 1936
Elsa Shiparelli, Monkey Hair Shoes, 1938
  Meret Oppenheim: Object (Luncheon In Fur), 1936
 Marcel Marien, L'introuvable (Das Unauffindbare), 1937
Man Ray, Indestructible Object, 1921

Claude Cahun, Object, 1936

Marcel Jean, Specter of the Gardenia, 1936

Eileen Agar, Angel of Anarchy, 1936
 Man Ray, Cadeau, 1921
 Marcel Duchamp, Bottle Dryer, 1914

Hans Bellmer, The Doll, 1936 
Ángel Ferrant, Maniquí (Mannequin), 1946
 George Grosz / John Heartfield
Der wildgewordene Spießer Heartfield (Elektromechanische Tatlin-Plastik), 1920
 Otto Morach, La boite a joujoux: The Blue Doll, 1918
 Hanna Höch, DaDa Dolls, 1916
 Luigi Veronesi, Devils, 1942
Puppets for "The Soldier's Tale" by Igor Stravinsky
 Sophie Täuber, Military Guards (Die Wachen), 1918
Marionette for the play The King Stag (König Hirsch) by Carlo Gozzi, 1762
 Alexandra Exter, L'Homme réclame [Publicity man], c. 1920

Pierre Klossowski, Diane et Acteon, c. 1975
 et al., EN PASSANT, 2011
 Denise Bellon, Salvador Dalí und sein Mannequin (Detail), 1938 
 Denise Bellon, Mannequin von André Masson (Detail), 1938 
 Marcel Duchamp, Why not sneeze Rose Sélavy?, 1921

André Breton wrote about Why not Sneeze, Rose Sélavy?:
I have in mind the occasion when Marcel Duchamp got hold of some friends to show them a cage which seemed to have no birds in it, but to be half-full of lumps of sugar. He asked them to lift the cage and they were surprised at its heaviness. What they had taken for lumps of sugar were really small lumps of marble which at great expense Duchamp had had sawn up specially for the purpose. The trick in my opinion is no worse than any other, and I would even say that it is worth nearly all the tricks of art put together.
 Irina Polin, Butterfly 2009
 Man Ray, L'énigme d'Isidore Ducasse, 1920 (Sewing Machine, Wool & Rope)
 Joseph Beuys, Homogeneous Infiltration for Piano, 1966
Salvador Dalí, Hummer - oder aphrodisisches Telefon, 1936
 Conroy Maddox, Onanistic Typewriter, 1940 
 Meret Oppenheim, Table with Bird's Legs, 1939 
 Isamu Noguchi, Monument to Heroes, 1943 
Alexander Calder, Red and Black Waves on Grey Stalk, 1954
 Leonid Sokov, Lenin and Giacometti, 1989
 Georges Hugnet, Painted Stone in Form of a Mask, 1955
Jean Benoît, Antiquité du XXième siècle, 1965 
 Paul Joostens, Dada-Object, 1918
  Kurt Schwitters, The Cathedral of Erotic Misery - Merzbau - Hanover - 1924
 Wilhelm Freddie, Sex-paralyseappeal, 1936
 Raoul Hausmann, The Spirit of Our Age - Mechanical Head, 1920
 Oskar Schlemmer, Triadisches Ballett (Triadic Ballet), 1922. Costume
John Heartfield's and Rudolf Schlichter's Prussian Archangel assemblage (1920), depicts a pig-headed military officer that the artists suspended from the ceiling. The giant puppet is wrapped with a poster that reads "I come from Heaven, from Heaven on high" - the refrain from a well-known German Christmas carol. The sign dangling below further mocks the military: "In order to understand this work of art completely, one should drill daily for twelve hours with a heavily packed knapsack in full marching order in the Tempelhof Field [a military training ground in Berlin]." When the Prussian Archangel was exhibited in 1920 during the First International Dada Fair in Berlin, authorities charged the artists with defaming the German army. In the end, Schlichter and Heartfield were acquitted. 
Paul Klee, Untitled (Big Eared Clown), 1925
 Lyonel Feininger, Toy Town, 1925
Hermann Finsterlin, Study for a House of Sociability, project, c. 1920
Finsterlin, a painter, toy designer, and architectural visionary, is closely associated with the German Expressionist architecture of the 1920s, which privileged inspiration over rationalism. He was introduced to architect Bruno Taut and the Arbeitsrat für Kunst—a Berlin group of radical German architects, artists, and critics—when they invited amateurs to submit work for their 1919 Exhibition for Unknown Architects
Einstein Tower in Potsdam-Berlin by Erich Mendelsohn, 1919-22
 Georg Baselitz, My New Hat, 2003
"I paint German artists whom I admire. I paint their pictures, their work as painters, and their portraits too. But oddly enough, each of these portraits ends up as a picture of a woman with blonde hair. I myself have never been able to work out why this happens." - Georg Baselitz
German aquamanile depicting Airstotle’s girlfriend Phyllis riding him around the garden after Aristotle warned Alexander the Great about women. Copper alloy, 1400 AD.
 The author wound up for an afterenactment by a magnificent transformation scene
Some of the images provided by