Urinal (restroom) in the context of "Fountain (Duchamp)"

⭐ In the context of *Fountain*, Duchamp’s selection of a urinal is considered an example of his belief that art is fundamentally defined by…

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⭐ Core Definition: Urinal (restroom)

A urinal (US: /ˈjʊərənəl/, UK: /jʊəˈrnəl/) is a sanitary plumbing fixture similar to a toilet, but for urination only. Urinals are often provided in male public restrooms in Western countries (less so in Muslim countries). They are usually used in a standing position. Urinals can be equipped with manual flushing, automatic flushing, or without flushing, as is the case for waterless urinals. They can be arranged as single sanitary fixtures (with or without privacy walls), or in a trough design without privacy walls.

Urinals designed for females ("female urinals") also exist but are rare. It is possible for females to use stand-up urinals using a female urination device. The term "urinal" may also apply to a small building or other structure containing such fixtures. It can also refer to a small container in which urine can be collected for medical analysis, or for use where access to toilet facilities is not possible, such as in small aircraft, during extended stakeouts, or for the bedridden.

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👉 Urinal (restroom) 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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