![]() Perhaps her most famous work recognized as Dada is Un peut d’eau dans du savon, ( A Little Water in Some Soap ), a drawing of a female torso with the genitals covered by a decorative soap by Duchamp’s recommendation, she nailed a molded soap directly to the canvas. ![]() ![]() ![]() As a female artist in the male-centric Dadaist movement, Wood posed a conundrum, resisting the labels of “female muse” and “feminist artist.” Though she insisted that her relationships with Duchamp and Roche were her most important contributions to the movement, Paul Franklin argues that this is simply a Dadaist false naivete on Wood’s part. Wood became part of the New York Dadaist movement through her friendships and love affairs with both Marcel Duchamp and Henri Pierre-Roche as well as through her frequent presence at the Arensberg salon. In New York at the start of the First World War, she became an actress in a French theatre troupe, where she was introduced to the flourishing modern art scene. With an early interest in art and an early disdain for her mother’s ideals of femininity, Wood convinced her parents to send her to France to study painting and acting. The Blindman's Ball of 1917 ended with Wood, Loy, Duchamp, and two others sleeping in Duchamp's Bed.īorn into a Victorian family, Beatrice Wood struggled to free herself from her mother’s desire to “turn into a porcelain doll” (Wood). ![]() New York City, 1917 Wood was friends with Loy's husband, Arthur Cravan, in New York and worked on The Blind Man, a publication in which Loy published. ![]()
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