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Lublin also discovered that the female alter ego Duchamp used after 1920, Rose Sélavy, matched advertising in a Buenos Aires newspaper that he was known to have read. When she left, she stole the dilapidated letter box from Duchamp's former apartment and exhibited it later, recalling his Readymade works. [9]
Henri-Robert-Marcel Duchamp (UK: / ˈ dj uː ʃ ɒ̃ /, US: / dj uː ˈ ʃ ɒ̃, dj uː ˈ ʃ ɑː m p /; [1] French: [maʁsɛl dyʃɑ̃]; 28 July 1887 – 2 October 1968) was a French painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art.
Rrose Sélavy, the feminine alter-ego of artist Marcel Duchamp, remains one of the most complex and pervasive pieces in the enigmatic puzzle of the artist's oeuvre. She first emerged in portraits made by the photographer Man Ray in New York in the early 1920s, when Duchamp and Man Ray were collaborating on a number of conceptual photographic works.
The Bride Stripped Bare by Her Bachelors, Even (in French : La mariée mise à nu par ses célibataires, même), most often called The Large Glass (in French : Le Grand Verre), is an artwork by Marcel Duchamp over 9 feet (2.7 m) tall and almost 6 feet (1.76m) wide. Duchamp worked on the piece from 1915 to 1923 in New York City, creating two ...
Marcel Duchamp dressed his mannequin in a man's felt hat, shirt, tie and jacket; a red bulb blinked in the breast pocket, and the lower part of the mannequin was naked - "Rose Selavy (Duchamp's alter ego) in one of her provocative and androgynous moods".
[47] [48] According to Özkaya, there is more to Étant Donnés than previously thought; that the work, which took Duchamp more than 20 years to create, [49] projects an image of Rrose Sélavy, "Duchamp’s female alter ego." [50]
Rrose Sélavy, a female alter-ego employed by dada artist Marcel Duchamp, sounds like "Eros, c'est la vie" meaning something like "eroticism is life". "Yamamoto Kadératé", a faux Japanese name which sounds like the sentence "Y a ma moto qui a des ratés" meaning "My motorbike has backfires".
In her Portrait of Marcel Duchamp and Rrose Sélavy, for example, she included images of a number of his "readymades," as well as his feminine alter ego, Rrose Sélavy. Barbara Bloemink has proposed that Duchamp based his persona as Rrose Sélavy in the well-known 1920-21 photography by Man Ray on Stettheimer. [32]