and Duchamp himself, the show explores various conceptual legacies of the readymade, including ideas of collaboration and delegation, chance’s role in creative production, and the use of industrially fabricated items and materials.
Titled “By Proxy,”the show is anchored by one of Duchamp’s more intriguing readymades, With Hidden Noise (1916), which he produced by sandwiching a ball of twine between two brass plates—and asking his friend and patron Walter Arensberg to put a small item in the cavity, so that it rattles when shaken. Although Duchamp conceived the idea for the work, he is by no means exclusively responsible the finished product: he didn’t even know what makes the noise that ushers from it.
Other works on view take off from here: Boetti outsourced the stitching of his vibrant world Mappe to Afghani women, embracing unpredictable outcomes by allowing them to choose their own colors. Belgian artist
, based in Mexico City, has periodically asked local sign painters to copy his paintings on small canvases; their interpretations are exhibited in the gallery alongside his, revealing personal flourishes and divergences as well as similarities, and positing the idea of the “original” author as curiously irrelevant.
Taken altogether, the recent and historic works featured in “By Proxy”constitute a fascinating survey of appropriation—a subject of particular relevance for a contemporary world culture defined by incessant re-tweeting and cultural sampling.
“By Proxy” is on view at James Cohan Gallery, Nov. 20, 2014–Jan. 17, 2015.