Tate Modern Exhibition

Duchamp, Man Ray, Picabia

Exhibition banner for Duchamp Man Ray Picabia The Moment Art Changed Forever at Tate Modern

This revelatory exhibition brings together three of the greatest figures of twentieth-century art: Marcel Duchamp, the father of Conceptual art and creator of the readymade; Man Ray, an artist who produced some of the most celebrated photographs of the modern era; and Francis Picabia, a flamboyant French painter famous for defying the conventions of ‘good taste’.

Duchamp, Man Ray and Picabia were the leading figures in the New York Dada movement, rebelling against the norms of traditional art. They became friends and, as the exhibition shows, their friendship influenced the direction of their lives and their art. A powerful intellectual chemistry allowed them to respond freely to each other’s ideas in an artistic dialogue filled with in-jokes and innuendos.

Focusing on periods of collaboration and highlighting their common interests, Duchamp, Man Ray, Picabia explores the intriguing connections between these three pioneering figures. This major exhibition includes many icons of modern art. It features Duchamp's Nude Descending a Staircase (No 2) 1912, which caused a furore when displayed in New York, his famous Fountain 1917, and a parody of the Mona Lisa, L.H.O.O.Q. 1919. Also included are Man Ray’s innovative experiments with the camera, such as his Rayographs and early films, as well as Picabia’s early abstract paintings and late erotic nudes.

Tate Modern

Bankside
London SE1 9TG
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Dates

21 February – 26 May 2008

Supported by

American Patrons of Tate

In partnership with

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  • The unholy trinity

    Bernard Marcadé

    To coincide with the first exhibition to explore the inter-relationship between Duchamp, Man Ray and Picabia, to be staged at Tate Modern, Marcadé examines how they laid the foundations of much contemporary art.

  • An Unpublished Drawing by Duchamp: Hell in Philadelphia

    Jennifer Mundy

    This paper discusses a hitherto unpublished drawing by Marcel Duchamp (1887–1968) that relates to his masterwork The Bride Stripped Bare by her Bachelors, Even (The Large Glass), 1915–23. This drawing escaped the attention of Duchamp scholars because the artist gave it as a present to an American television producer in 1956. The significance of the note, together with the circumstances of the gift, is discussed here.

  • Military Avoidance: Marcel Duchamp and the 'Jura-Paris Road'

    Kieran Lyons

    The essay traces military relationships in the work of Marcel Duchamp (1887–1968), paying particular attention to his notes of 1912 known as the 'Jura-Paris Road'. These are interpreted as 'military texts' and the author shows how military concerns remained with Duchamp throughout his career, resulting in facetious outcomes that obscured uneasy preoccupations.

  • 'All artists are not chess players – all chess players are artists' Marcel Duchamp

    Allan Savage

    To coincide with the first exhibition to explore the inter-relationship between Duchamp, Man Ray and Picabia at Tate Modern, Allan Savage looks at the fascination of all three artists with the game of chess.

  • From the Green Box to Typo/Topography: Duchamp and Hamilton’s Dialogue in Print

    Paul Thirkell

    This paper examines Marcel Duchamp's use of the collotype printing process for publishing the contents of his Green Box and Boîte-en-valise in the 1930s. It subsequently traces the linguistic and graphic interpretations of this work by the British artist Richard Hamilton in his 1960 The Green Book and in his recent fusion of this work with the 'topography' of the Large Glass in the print Typo/Topography, published in 2003.

  • Artist

    Marcel Duchamp

    1887–1968
  • Artist

    Man Ray

    1890–1976
  • Artist

    Francis Picabia

    1879–1953
  • Artwork

    Marcel Duchamp Fountain

    1917, replica 1964