What happened to R. Mutt’s “Fountain”?
For the last few days, inside the cocoons, there is much shock. As out-of-touch elitists in the would-be ruling class are processing an historic rejection of their presumptions, it’s worth revisiting a defining and divisive moment in elitist art history.
Recently, in some random reading I was doing, I came across a surprising story that may actually solve a genuine art world mystery.
I’m very critical of the nihilistic stylings of the contemporary establishment art market. I’ve written at length on its dynamic as both an elaborate con game and as an insidious effort at social programming and control. Conceptual Art is the official art of the New World Order. Talentless cynics like Jeff Koons and Tracey Emin are promoted as pinnacles of achievement, and showered with elitist money and accolades. These conceptual artists claim that just having an idea is good enough to be considered art, as long as the right people agree.
The conceit of conceptual art, like most of the abuses of this decadent Post Modern era, comes from a thirst for power. Anything can be art if the gatekeepers say it is, and you better submit to their superior opinions. Contemporary art has become a wedge, a means for primitive tribal virtue signalling. You can divide the population up based on savvy insiders who prattle on about a dirty, unmade bed in a museum as a fascinating comment on normative functionalism, versus those mundane types who recognize a feeble failure when they see it.
A certain segment of the glitterati like to flaunt their ability to see shit as sophisticated art as a badge of honor, for some reason.
We are coming up on the 100th anniversary of the totem these poseurs use as credibility for their if-it’s-in-a-gallery-it-must-be-art attitudes. In April 1917, New York City’s Society of Independent Artists had an egalitarian idea for an art show: anyone who paid the fee could show their art, which would be hung in alphabetical order. But the organizers were shocked when they received an anonymous submission, called “Fountain.” It was a sideways urinal, signed “R. Mutt 1917.”
Marcel Duchamp, sporting a reverse mohawk
.
One of the organizers was French artist Marcel Duchamp. When the committee balked at showing the urinal he resigned in a huff. Years later he spread it around that it was actually his piece.”Fountain” was a Dada assault on taste, a rejection of artistic skill, an undermining of the noble purposes of art. Duchamp and his advocates like to say it poses philosophical questions about what art is. Regardless, the piece can be seen as the harbinger of the whole empty, alienating, transgressive mess the contemporary art world has become. “Fountain” has been used as the justification for turning art into an ironic elitist assertion, rather than an uplifting communal experience. It’s a truly nasty legacy.
But did Duchamp even make the piece? Evidence suggests he stole credit for the piece from a female artist, Baroness Elsa von Freytag-Loringhoven, an wildly eccentric friend of his. She was part artist and part public nuisance, an exhibitionist, kleptomaniac and poet, who often dressed herself in food and utensils. The urinal would have been just her style.
The real R. Mutt? Baroness Elsa von Freytag-Loringhoven
.
On April 11, 1917, Duchamp wrote in a letter to his sister: “One of my female friends who had adopted the pseudonym Richard Mutt sent me a porcelain urinal as a sculpture; since there was nothing indecent about it, there was no reason to reject it.” So it seems while he may have submitted it to the show, Duchamp was not the one who came up with this iconic gesture. By the time Duchamp started to claim “Fountain” as his own, the mentally ill Baroness was long dead and forgotten.
It would match Duchamp’s character to perform such a swindle; he lived his adult life sponging off of, using, and abusing a series of women. He really was a cad.
It is so fitting the impetus of our contemporary establishment art world is most likely based on lies, theft, corruption and exploitation. But the originator of the piece is not the mystery I’m writing about.
What happened to the original “Fountain”?
Avant-garde gallery owner Alfred Stieglitz snapped a picture of it, but we are told the original was lost. The versions of “Fountain” now on display in museums around the world are “replicas” Duchamp commissioned in the 1960s to cash in on the notorious reputation of the piece.
I just found a surprising clue to what happened to “Fountain” in an unexpected place, while I was reading about a very different type of artist.
William Glackens (March 13, 1870 – May 22, 1938) was a significant painter in the early decades of the 2oth century. He got his start as an artist journalist. Before there were photographs in newspapers, illustrators had to create the imagery. They had to work fast, and since they were covering the news, they were used to depicting the common people as opposed to esoteric artistic subject matter. Glackens’s most notable journalistic work occurred in 1898, when he accompanied Theodore Roosevelt’s troops to Cuba during the Spanish American War.
William Glackens artwork from the field of battle
.
After he left journalism, Glackens continued to make an art of the people, as compared to an art of the Academy. He was a key figure of the early American art movements The Eight and The Ashcan School, realist painters that rebelled against the stuffy elitist attitudes of the art establishment of their era. Glackens and his colleagues were considered controversial and gauche at the time for their depictions of everyday life.
William Glackens “The Shoppers”
.
I love reading artist biographies. So when I was recently at the library and saw on the shelf William Glackens and the Eight: The Artists Who Freed American Art, I was very excited. I knew about him and the Ashcan School, and I see the art movement Remodernism as fulfilling a similar role for artistic renewal now.
The book is by his son Ira Glackens, written in 1957. It is full of amusing and affectionate anecdotes about both of his parents; William was married to socialite and artist Edith Dimock. She is the central figure depicted in the painting of the shoppers above.
As William Glackens was one of the most important artists of his day, he was involved in many major events. I was thrilled when Ira Glackens wrote about when he was a little boy, during the legendary 1913 Armory Show that introduced Modern Art to America. He met visionary painter Albert Pinkham Ryder there, one of my favorite artists. But I was stunned when he recounted a story about 1917.
William Glackens was the president of the Society of Independent Artists committee that received “Fountain.” Another artist on the committee along with Duchamp was Charles Prendergast. Here are Ira’s words about how the “Fountain” situation was resolved:
It would be difficult to visualize W.G. [William Glackens] in an executive capacity, but nevertheless he proved a very valuable man, especially when an impasse was reached. The story of how he solved a great dilemma that confronted the executive committee was later told by Charles Prendergast, and he laughed so hard telling it that the tears ran down his cheeks… Everybody perhaps knows the story of the “Fountain” signed R. Mutt, a nom de guerre of Marcel Duchamp which the creator of the “Nude Descending a Staircase” submitted as his entry. This object was a urinal, a heavy porcelain affair meant to be a fixture, and it caused a great deal of dismay in the executive committee…The executive committee stood around discussing the thorny problem. Presumably the best art brains in the country were stumped.
Nobody noticed W.G. leave the group and quietly make his way to a corner where the disputed object d’ art sat on the floor beside a screen. He picked it up, held it over the screen, and dropped it. There was a crash. Everyone looked around startled.
“It broke!” he exclaimed.
By the 1950s when this book was written Duchamp had appropriated credit for “Fountain,” but it had not yet become the cultural touchstone it is now considered. I see no reason why Ira Glackens would just invent a story like that, or why their family friend and fellow artist Charles Prendergrast would say such a thing about the mild mannered and low key William Glackens for no reason.
We now have some hearsay evidence about what happened to the original “Fountain,” which has been overlooked for decades. There’s no way to prove it, but it’s a compelling conclusion to a sordid tale. As far as I’m concerned, William Glackens was on the right track and did the world a favor. If only it had ended there.
The pissy head games of elitist art need smashing, now more than ever.
11/22: Welcome Instapundit readers! Check out some of my other posts to see more about the state of the arts from a Remodernist perspective. -RB
THE REMODERN REVIEW 