Viewing page 11 of 19

This transcription has been completed. Contact us with corrections.

Beatrice Wood      8

replied Walter with a touch of impatience. "To reject it, would be denying the purpose with which we founded this project. What is meaningful is that an individual chose this objec t, changed its purpose, revealing it in new esthetic terms."

Kent exploded, "You mean that if a man sent in horse manure stuck on canvas we would have the hang it?"

"I'm afraid we would," replied Walter with mock sadness, and I caught a gleam in his eye that warned all was no [[not]] as simple as it counded [[sounded]].

The object had sweeping lines of pristine purity, and with light gently falling on its curves it recalled a woman's head with a veil, and thus Steiglizt photographed it. In its normal position, set upright, the object was a man's urinol [[urinal]]. R. Mutt of course, was Marcel Duchamp, testing the liberalism of the by-laws. 

The result was a hurricane in art circle. Mrs. Harry Payne Whiney gave $500 to publish a small magezien [[magazine]] with the same principles of censorship. Marcel and Roche were entrances with the possibilities, spend endless time over the first issue. The send was full of the controversy over the R. MUtt [[Mutt]] entry, now referred to as "Madonna of the Bathroom." Sitegletz photograph was the frontespiece [[frontispiece]]. Walter sent in a power, Crownenshield, editor of VAnity Fair, Picabia, Myrna Loy added articles, while I write an editorial that AMerica's greatest achievement were her plumbing and bridges, and the finest art galleries took adds. 

During one of the trips to the printers, Marcel explained that he and Roch were under auspieces [[auspices]] of the French government, and therefor [[therefore]] it might be wise they use not their names as publishers. Asked if I would use mine, without hesitation I consented. I would have consented to anything they asked.