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38-453: Bicycle Wheel is a readymade from Marcel Duchamp consisting of a bicycle fork with front wheel mounted upside-down on a wooden stool. In 1913 at his Paris studio Duchamp mounted the bicycle wheel upside down onto a stool, spinning it occasionally just to watch it. Later he denied that its creation was purposeful, though it has come to be known as the first of his readymades . "I enjoyed looking at it", he said, "just as I enjoy looking at

76-432: A fund initiated by James Adams in honor of the university's tenth president and in support for the blooming museum, financed almost all of the museum's acquisitions in the early years. Hope also contributed to the museum, giving a number of important works including Pablo Picasso's The Studio . In the formative years of the museum, the late 1950s, 60s, and 70s, gifts to the museum accumulated rapidly. The museum moved into

114-431: A moustache drawn on it, is not the true Mona Lisa , but Duchamp's own slightly-different version that he modelled partly after himself. The inference of Shearer's viewpoint is that Duchamp was creating an even larger joke than he admitted. Indiana University Art Museum The Sidney and Lois Eskenazi Museum of Art at Indiana University is an art museum at Indiana University Bloomington , which opened in 1941 as

152-452: A total of 13 readymades over a period of time of 30 years. He felt that he could only avoid the trap of his own taste by limiting output, though he was aware of the contradiction of avoiding taste, yet also selecting an object. Taste, he felt, whether "good" or "bad", was the "enemy of art". His conception of the readymade changed and developed over time. "My intention was to get away from myself", he said, "though I knew perfectly well that I

190-436: A trained architect, was perfectly suited to start the process of establishing a separate building for the art museum. Wanting an architect with museum-design experience, Solley and the university gave the project to I.M. Pei and Partners in 1974. Completed in 1982, the space had three galleries for permanent collections and one gallery for special exhibitions. Solley grew the collection from 4,000 works to 30,000 in his years at

228-628: The Indiana University Museum of Art under the direction of Henry Radford Hope. The museum was intended to be the center of a “cultural crossroads,” an idea brought forth by then- Indiana University President Herman B Wells . The present museum building was designed by I.M. Pei and Partners and dedicated in 1982. The museum's collection comprises approximately 45,000 objects, with about 1,400 on display. The collection includes items ranging from ancient jewelry to paintings by Pablo Picasso and Jackson Pollock . In May 2016, after

266-737: The Israel Museum in Jerusalem in 1972 and the National Gallery of Modern Art in Rome in 1997. Research published in 1997 by Rhonda Roland Shearer questions whether Duchamp's "found objects" may actually have been created by Duchamp. Her research of items like snow shovels and bottle racks in use at the time failed to turn up any identical matches to photographs of the originals. However, there are accounts of Walter Arensberg and Joseph Stella being with Duchamp when he purchased

304-521: The 70-foot freestanding tower, and the 40-foot tube within the atrium of the museum. The Light Totem also illuminates the wall of the Art Museum with a computerized display of changing colors. Each of the lighted sections can be programmed to project any color and change color up to every tenth of a second. The entire display uses only 3,000 watts of electricity, about the amount used when a hair dryer and toaster are running simultaneously, according to

342-616: The Department of Fine Arts, Henry Radford Hope . The first exhibition, Sixteen Brown County Painters , opened on November 21, 1941. The catalog for the event contained a statement describing the goals of the gallery at the time: “The purpose of the Art Center Gallery… is to bring temporary loan exhibitions to the campus so that students may have an opportunity to study and see original works of art. Examples of diverse character will be brought to this gallery in order to show

380-717: The Elder , Emanuel de Witte , Bernardo Strozzi , and Jean Louis Laneuville , among others. There are also 19th century European paintings by Jean-Léon Gérôme , Charles Daubigny , Gustave Caillebotte ("Yerres, Rain Effect"), and Claude Monet ("Port of Argentieul") among others. The museum has education programs where schools in 51 of the 90 counties in Indiana participate, allowing a reach of about 7,000 students per year. The museum partners with 55 different university academic departments to provide curriculum-based tours for students at

418-477: The Eskenazi Museum of Art announced that a contemporary art installation by British designer Paul Cocksedge had been installed in the renovated café space. The installation, titled A Gust of Wind , is made up of satin-finish acrylic cast into sheets made to resemble paper. They are suspended from the ceiling and give the appearance of a cloud of sheets of white paper blowing into the museum's Atrium from

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456-741: The Modern and Contemporary gallery, featuring European and American art from the 19th century on; the Ancient, Asian, and Islamic Art gallery; and the Raymond and Laura Wielgus Gallery of the Arts of Africa, Oceania, and Indigenous Art of the Americas. In addition to the permanent collections galleries, the museum has three gallery spaces for rotating exhibitions: the Special Exhibitions gallery;

494-639: The Time-based Media Gallery, which focuses on film, new media, and similar types of art; and the Rhonda and Anthony Moravec Gallery in the Prints, Drawings, and Photographs Center. In the museum's Ancient, Asian, and Islamic Art gallery, ancient Chinese porcelains, Japanese paintings, classical Greek, Roman, and Etruscan vases, bronzes, and mosaics are on display. The Burton Y. Berry Collection of Ancient Jewelry consists of 5,000 pieces from across

532-443: The ancient world. Works by German and Austrian Expressionists August Macke , Ernst Ludwig Kirchner , Alexej von Jawlensky , Max Beckmann , and Emil Nolde , along with early modern European and American masters such as Fernand Léger , Marcel Duchamp , Georges Braque , and Kurt Schwitters , are in the museum's collection. American abstract artists such as Stuart Davis , Frank Stella , and Joseph Cornell are also featured in

570-617: The announcement of the largest cash gift in the museum's history, the museum was renamed the Sidney and Lois Eskenazi Museum of Art in honor of Indianapolis-based philanthropists Sidney and Lois Eskenazi. The museum is located on the Indiana University Bloomington campus at 1133 E. Seventh Street. The Eskenazi Museum of Art opened in 1941 in a gallery space in Mitchell Hall under the newly appointed head of

608-505: The atrium. The other space is used for offices, gift shop, storage, and the outdoor Sculpture Terrace. The Luzetta and Del Café and Gift Shop, located on the second floor of the Eskenazi Museum of Art, sells an array of art-inspired products for guests to purchase, along with a selection of food and beverage options. The Newkirk Café has indoor seating, as well as outdoor seating located on the Sculpture Terrace. In August 2019,

646-619: The cancelation the museum's director had informed her of staff members' concerns over her social media posts in support of Palestinian causes and her comparing of the Israeli bombing of the Gaza Strip in the 2023 Israel–Hamas war to genocide . Several free expression organizations, including PEN America and the National Coalition Against Censorship called on the university and museum to reinstate

684-747: The edition was still unsold, though Schwarz had raised the prices considerably; a complete set was listed for $ 450,000, and individual works started at $ 15,000. Schwarz sold his remaining inventory at auction in 1985, except for one remaining complete set, which he sold to the National Museum of Modern Art in Japan in 1987. Duchamp's proof set was sold by his widow to the Musée National d'Art Moderne in Paris in 1986. Schwarz sold his proof set at auction in 2002. The two museum sets were donated to

722-529: The exhibition, and Halaby's supporters created a petition asking the president of the university to do so. Michigan State University 's Broad Art Museum said in a statement that they will still host the exhibition in June 2024 as originally planned. The museum features four permanent collections galleries: the Jane Fortune Gallery, featuring European and American art through the 18th century;

760-509: The flames dancing in the fireplace". It was not until he began making readymades a few years later in New York that he decided Bicycle Wheel was also a readymade, and created the second version. The original version of 1913 and the second version of 1916-17 were both lost. Duchamp recreated yet another version of the sculpture in 1951. Bicycle Wheel is said to be the first kinetic sculpture . Readymades of Marcel Duchamp Duchamp

798-531: The gallery space in the newly built Fine Arts building on campus, right next to the auditorium, in 1962. Encouraged by then-University Chancellor Herman B Wells , the Board of Trustees of the university started budgeting a small amount for the museum each year, with additional special allocations for the Art Museum to grow the collection. In 1968, Hope hired Thomas T. Solley as the museum's Assistant Director. Solley became Director in 1971 after Hope retired. Solley,

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836-425: The lost originals, sharing their status and value", according to scholar Adina Kamien-Kazhdan. Today, Schwarz's replicas are found in museums around the world. Initial demand for the replicas was slow. One set was sold in 1969 to New York art dealer Arne Ekstrom, who then sold it to Indiana University Art Museum in 1971 for $ 35,000. Another set was sold in 1971 to the National Gallery of Canada . By 1974, much of

874-409: The multiple aspects of art both past and present.” Establishing a permanent collection did not come to fruition until after World War II. In 1955, art collectors James and Marvelle Adams gave Indiana University a terracotta bust by Aristide Maillol , which inspired Hope to revive the goal to create a permanent collection for an art museum at Indiana University. The William Lowe Bryan Memorial Fund,

912-455: The museum canceled a planned retrospective exhibition of Palestinian artist Samia Halaby , a 1963 graduate of the university's MFA program. A university spokesperson told The New York Times in early 2024 that "academic leaders and campus officials canceled the exhibit due to concerns about guaranteeing the integrity of the exhibit for its duration," but Halaby told the Times that before

950-469: The museum received a major gift of $ 15 million from Indianapolis-based philanthropists Sidney and Lois Eskenazi to fund a full renovation of the museum's I.M. Pei-designed building. The museum was renamed in their honor in recognition of the gift. In May 2017, the museum closed for renovation. The renovation was completed in 2019, and the museum reopened to the public in November that year. In late 2023,

988-517: The museum together. Following the museum's renovation, four new learning were established to teach about the museum and its collection. These are the Center for Conservation, the Center for Curatorial Studies, the Center for Prints, Drawings, and Photographs, and the Kimberly and John Simpson Center for Education. The building, designed by I.M. Pei and Partners, was completed in 1982. The museum

1026-431: The museum's collection. The works-on-paper collection includes major works by Albrecht Dürer , Rembrandt van Rijn , and Francisco Goya . The photography collection includes the archives of Henry Holmes Smith , Art Sinsabaugh , and Jeffrey A. Wolin . There are also European Old Master paintings by Niccolo di Buonaccorso , Apollonio di Giovanni , Taddeo Gaddi , Vittore Crivelli , Felipe Vigarny , Gerard Terborch

1064-435: The museum. Thomas T. Solley resigned in 1986 and Adelheid M. Gealt was appointed director the following year. Gealt served until 2015, and under her leadership the museum was a 2012 recipient of an Andrew J. Mellon Foundation endowment challenge grant, a $ 500,000 award. Adelheid Gealt retired from the museum at the end of June 2015, at which point David A. Brenneman became the museum's Wilma E. Kelley Director. In 2016,

1102-471: The original Fountain at J. L. Mott Iron Works. Such investigations are hampered by the fact that few of the original "readymades" survive, having been lost or destroyed. Those that still exist are predominantly reproductions authorized or designed by Duchamp in the final two decades of his life. Shearer also asserts that the artwork L.H.O.O.Q. which is recorded to be a poster-copy of the Mona Lisa with

1140-492: The outdoor Sculpture Terrace entrance. The Light Totem installation at the Eskenazi Museum of Art was completed in 2007. It was commissioned as a temporary installation to celebrate the 25–year anniversary of the Eskenazi Museum of Art building. Due to its popularity with the campus and community, Light Totem was approved by the Board of Trustees to become a permanent fixture outside the museum in 2010. Artist Robert Shakespeare used LEDs ( light-emitting diodes ) to illuminate both

1178-537: The pieces he altered or constructed.) In 1964, Duchamp authorized a limited edition release of replicas of fourteen of his readymades to be issued by his art dealer, Arturo Schwarz , through the Galleria Schwarz in Milan . The edition included eight sets for sale, two sets of artist's proofs (one for Duchamp and one for Schwarz), and two hors de commerce sets to be given to museums. Schwarz replicated

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1216-415: The public, and his patrons, Duchamp challenged conventional notions of what is, and what is not, art. Some were rejected by art juries and others went unnoticed at art shows. Most of his early readymades have been lost or discarded, but years later he commissioned reproductions of many of them. (Note: Some art historians consider only the un-altered manufactured objects to be readymades. This list includes

1254-649: The university. Through partnerships with Indiana University's Center for Rural Engagement , programs like a PreK-12 "Look Club" and Creative Arts for Veterans program provide museum programming to rural communities. Public programs include a student-hosted visiting artist series, where contemporary artists discuss their practices and processes; Art and a Movie, a partnership with the IU Cinema that pairs films with special programming about art, artists, and historical context; docent-led gallery tours; and "Social Saturday" programs designed for friends and family to experience

1292-432: The works with oversight from Duchamp, taking "almost fanatical care" in reproducing them accurately, according to Duchamp. Critical reaction to Duchamp's decision to reproduce the readymades was generally negative. Artist Daniel Buren , for example, said that Duchamp had "sold out to commercialism". As decades passed, however, the Galleria Schwarz replicas "gradually became mainstreamed and eventually became stand-ins for

1330-595: Was always the idea that came first, not the visual example ... a form of denying the possibility of defining art." The first definition of "readymade" appeared in André Breton and Paul Éluard 's Dictionnaire abrégé du Surréalisme : "an ordinary object elevated to the dignity of a work of art by the mere choice of an artist". While published under the name of Marcel Duchamp (or his initials, "MD", to be precise), André Gervais nevertheless asserts that Breton wrote this particular dictionary entry. Duchamp only made

1368-417: Was constructed as a play on angles. It is rumored to have no right angles, however this is not true. The floors meet the walls at a ninety-degree angle, and there are many square and rectangular windows in the building. The design features two concrete triangles connected by a glass-ceiling atrium. The museum is 105,000 square feet: 38,361 square feet are devoted to gallery space, and 18,000 square feet comprise

1406-517: Was not interested in what he called "retinal art"—art that was only visual—and sought other methods of expression. As an antidote to retinal art he began creating readymades in 1914, when the term was commonly used in the United States to describe manufactured items to distinguish them from handmade goods. He selected the pieces on the basis of "visual indifference", and the selections reflect his sense of irony, humor and ambiguity: he said "it

1444-558: Was using myself. Call it a little game between 'I' and 'me ' ". Duchamp was unable to define or explain his opinion of readymades: "The curious thing about the readymade is that I've never been able to arrive at a definition or explanation that fully satisfies me." Much later in life Duchamp said, "I'm not at all sure that the concept of the readymade isn't the most important single idea to come out of my work." Robert Fulford described Duchamp's readymades as expressing "an angry nihilism". By submitting some of them as art to art juries,

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