18/12/2021
At the beginning of the 20th-century, Americans knew little about modern art, but all that abruptly changed when a survey of Europe's leading modernists was mounted at New York City's 69th Regiment Armory on Lexington Avenue between 25th and 26th Streets. The show was officially titled the "International Exhibition of Modern Art," but has simply been known as the Armory Show ever since. It was a succès de scandale of epic proportions, sparking an outcry from critics that landed on the front page of newspapers. At the center of the brouhaha was this painting by Marcel Duchamp. A stylistic mixture of Cubism and Futurism, Duchamp’s depiction of the titular subject in multiple exposure evokes a movement through time as well as space, and was inspired by the photographic motion studies of Eadweard Muybridge and Étienne-Jules Marey. The figure's planar construction drew the most ire, making the painting a lighting rod for ridicule. The New York Times's art critic dubbed it "an explosion in a shingle factory," and The New York Evening Sun published a satirical cartoon version of N**e with the caption, "The Rude Descending a Staircase (Rush Hour at the Subway),” in which commuters push and shove each other on their way onto the train. N**e was one of a handful of paintings Duchamp made before turning full time towards the conceptualist experiments (such as the Readymades and The Large Glass) for which he’s known.
