Grand Central Palace in the context of "Fountain (Duchamp)"

⭐ In the context of *Fountain*, the Grand Central Palace is most notably associated with…

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⭐ Core Definition: Grand Central Palace

The Grand Central Palace was an exhibition hall in Midtown Manhattan, New York City. The name was used for two structures, both located on Lexington Avenue near Grand Central Terminal.

The original structure was a six-story structure built in 1893 between 43rd and 44th Streets. It was demolished during the construction of Grand Central Terminal, and a new 13-story structure was constructed between 46th and 47th Streets. The second Grand Central Palace was designed by Grand Central Terminal architects Warren and Wetmore and Reed and Stem in the Beaux-Arts architectural style, and had almost twice as much room as the original structure. The Palace served as New York's main exposition hall from 1911 until 1953, when the exhibition space was replaced by office space for the Internal Revenue Service. The building was demolished starting in 1964. Throughout its history, the Grand Central Palace hosted auto, boat, flower and trade shows, though parts of the Palace were used as office space. The first Palace was also used as a temporary railroad terminal during the construction of Grand Central Terminal in the 1900s.

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👉 Grand Central Palace in the context of Fountain (Duchamp)

Fountain is a readymade sculpture by Marcel Duchamp in 1917, consisting of a porcelain urinal signed "R. Mutt". In April 1917, an ordinary piece of plumbing chosen by Duchamp was submitted for the inaugural exhibition of the Society of Independent Artists, to be staged at the Grand Central Palace in New York. When explaining the purpose of his readymade sculpture, Duchamp stated they are "everyday objects raised to the dignity of a work of art by the artist's act of choice." In Duchamp's presentation, the urinal's orientation was altered from its usual positioning. Fountain was not rejected by the committee, since Society rules stated that all works would be accepted from artists who paid the fee, but the work was never placed in the show area. Following that removal, Fountain was photographed at Alfred Stieglitz's studio, and the photo published in the Dada journal The Blind Man. The original has been lost.

The work is regarded by art historians and theorists of the avant-garde as a major landmark in 20th-century art. Sixteen replicas were commissioned from Duchamp in the 1950s and 1960s and made to his approval. Some have suggested that the original work was by the female artist Elsa von Freytag-Loringhoven who had submitted it to Duchamp as a friend, but art historians maintain that Duchamp was solely responsible for Fountain's presentation.

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