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Boîte-en-Valise, open.
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Boîte-en-Valise, open.
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Description
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Title
Boîte-en-Valise
,
open
.
Translated Title
The
Box
in a
Valise
[Suitcase]
.
Creator
Duchamp, Marcel (French painter, sculptor, and writer, 1887-1968)
Date
1941
Cultural Context
French
European
Western European
Theme
Boxes (containers)
Containers (receptacles)
Cases (containers)
Suitcases
Luggage
Point-of-purchase displays
Showcases
Portable
Mass production
Culture
Art objects (object genres)
Works of art
Reproductions
Replicas
Copies (derivative objects)
Originals
Originality
Oeuvre
Ready-mades
Sculpture (visual work)
Paintings (visual works)
Photographs
Urinals (plumbing fixtures)
Plumbing fixtures
Subject
Boxes
Containers
Luggage
Showcases
Merchandise displays
Commercialism
Art objects
Reproductions
Miniature works
Sculpture
Paintings
Photographs
Plumbing fixtures
Description
"
Duchamp's
Boîte
'unpacked'
in
such
a
way
that
certain
sections
slid
out
to
become
free-standing
display
boards
,
whilst
a
sheaf
of
folders
and
black
mounts
bore
other
reproductions
of
works
from his
output
. In
all
,
it
contained
69
items
. These
included
a
miniature
version
of the
Large
Glass
on
celluloid
and,
next
to
it
,
three
tiny
versions
of
earlier
'readymades'
. These were, at the
top
,
Paris
Air
of
1919
(a
chemist's
ampoule
,
emptied
of its
contents
and then
re-sealed
by
Duchamp)
; in the
middle
,
Traveller's
Folding
Item
of
1916
(a
typewriter
cover)
; and, at the
bottom
,
Fountain
(1917)
, the
men's
urinal
which
had
originally
been
rotated
90
degrees
to
sit
on a
plinth
but was here
ironically
restored
to a
'functional'
position
.
(Caption
,
p
.
38)
; "The
shift
in
art-world
domination
from
Paris
to
New
York
in the
postwar
period
is
summed
up
by
Marcel
Duchamp's
Boîte-en-Valise
. The
work
comprises
a
collection
of
miniatures
and
samples
of the
French-born
artist's
pre-1935
output
.
Included
, for
example
,
is
a
tiny
version
of
Fountain
, the
re-titled
men's
urinal
which
emblematizes
Duchamp's
one-time
involvement
with the
iconoclasm
of
Dada
.
Ever
since
the
demise
of the
Dada
movement
in the
early
1920s
Duchamp
had
moved
between
Paris
and
New
York
.
Based
in
France
when
a
new
European
war
seemed
imminent
, he had
sensibly
decided
to
'pack
his
bags'
.
[…]
The
objects
presented
in the
Boîte
attested
to
cultural
mutations
.
Early
oil
paintings
by the
artist
were
represented
via
reproductions
.
Objects
which
had
once
been
'readymades'
(the
term
Duchamp
applied
to
mass-produced
objects
he had
accorded
art
status)
now
had a
paradoxically
'crafted'
quality
(the
urinal
is
a
case
in
point)
. The
Boîte
also
spoke
of
commodification
.
Part
of an
edition
(initially
a
'de
luxe'
one
of
24)
,
it
represented
, in
Duchamp's
words
,
'mass
production
on a
modest
scale.'
Overall
it
had a
dual
function
.
It
was a
portable
museum
,
regrouping
the
oeuvre
of an
iconoclast
. But
it
was also a
traveling
salesman's
display
case
.
[…]
The
Boîte
exemplifies
the
transition
between
two
worlds
: the
old
Europe
of the
museum
and the
connoisseur
, and the
young
America
of the
commercial
gallery
and the
artistic
commodity.
"
(Excerpts
,
p
.
37)
Material
Reproductions
Mixed media
Work Type
Boxes
Reproductions
Oeuvre
Miniature works
Repository
Scottish National Gallery of Modern Art (Edinburgh, Scotland, United Kingdom)
Source
Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.38, fig.17).
Rights
Reproduced in Hopkins courtesy of Scottish National Gallery of Modern Art, Edinburgh. © Succession Marcel Duchamp/DACS, 2000. (GMA 3472)
Digital Publisher
University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format
image/jpeg
Digital File Name
VRC
437-13.jpg
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Boîte-en-Valise, open. 
