inscribed in graphite, l.r.: Vlaminck; framer's marks in graphite, u.c., bot.c., l.c., r.c.; verso, inscribed in graphite, l.r.: 57.13, u.r.: 122; inscribed in letterpress on white sticker, u.l.: MARSHALL FIELD & COMPANY [green]/84 [purple] SEC [green] 134/F8382-1-28/80.00 EACH [purple]
Verso, inscribed in red paint, l. portion of upper member of stretcher: 58.32; in black marker(?), u.l. of canvas: M - 1955 50" x 68"/James Brooks; label, center horizontal support member, far l.: The Lannan Foundation [typescript]/DMFA [letterpress]; to the r.: Exhibition [letterpress] James Brooks/May 10 - June 25, 1972 [typescript]/Artist [letterpress]/Title [letterpress] Martoc [underlined; typescript]/Date [letterpress] 4-19-72 [typescript]; to the r.: Receipt No [letterpress] 679 [typescript]; to the r.: Box [letterpress]/dallas museum of fine arts [letterpress] - fair park - dallas, texas; label, to the r.: 1958.32/BROOKS, James/Martoc/PAINTING/69 1/2 x 51 1/4 (framed) [typescript];label, l. horizontal support bar, far l.: Museum of Modern Art [letterpress]/LOAN/57.409/Stable G [typescript]; label to the r.: GRACE BORGENICHT GALLERY/61 East 57 Street New York 22, N.Y. [letterpress]/ARTIST [letterpress] James Brooks [typescript] PRICE [letterpress]/TITLE [letterpress] M-1955 [typescript] MEDIUM [letterpress] oil [typescript]; label, bot. portion of vertical support member: WS BUDWORTH & SON, INC./PACKERS & SHIPPERS OF WORKS OF ART/424 West 52nd St., New York, N.Y./ESTABLISHED 1867 [in white letterpress on blue]/54 [in black ballpoint pen on white]
Verso, inscribed in red paint on canvas over u. horizontal support member of stretcher, l. portion: 80.19; in black marker on canvas, u.l.: BOSMAN; label, on c. horizontal support member of stretcher: Brooke Alexander, Inc./20 West 57th Street/New York, N.Y. 10019/STOCK NO. [black letterpress] 80-025 [typescript]; to the right: ARTIST [black letterpress] RICHARD BOSMAN [typescript]/TITLE [black letterpress] MAn, Rock & Ship 1980 [typescript]/MEDIUM [black letterpress] oil on canvas/34 x 51 1/2 inches [typescript]/EDITION [black letterpress]
Three large, rectangular blocks of translucent green glass hang in vertical succession on a newtwork of copper rods. The glass has bubbles embedded within it and shows evidence of the sandcasting process.
This abstract sculpture is dedicated to the artist's son, Benjamin, and represents hope for his future.
Verso, inscribed in red paint, on canvas over top member of stretcher, u.l.: 71.60; in black marker on canvas over top member of stretcher, u.r.: Berthot; on l. portion of center horizontal support member: Juggler's Debt H - 60" x W - 72" 1970; in red paint, r. portion of bot. horizontal support bar: 71.60; r. portion of center horizontal support bar: 71.60
Twelve identical cubes and twelve identical cylinders of gold-plated steel. They are rearrangeable.
This abstract sculpture of rearrangeable cubes and cylinders is meant to be participatory--rearrangeable by the viewer to any desired configuration. The subject matter is the sculptural form but also the interaction between artist, audience, and art object.
A small, thin silver disk. In the center are seven convex circular protrusions (one in the center surrounded symmetrically by the six others) that appear like balls set within individual depressions. There are other less uniform depressions surrounding the center design. An incised line runs around the circumference.
Casting of a sink stopper that Duchamp first designed by hand for his bathroom in Cadaqués, Spain. This everyday, handmade object was then reproduced in a series of one hundred. The piece demonstrates the meeting of art objects and the mundane,. It is also an example of ironic commercialization and artist self-representation. The International Numismatic Agency later released an edition of 300 as a collector's item, the Duchamp Art Medal.