approached the art of living with an attitude of intense
curiosity and confrontational subversion. This attitude is manifest in readymades
(1917), his world-famous porcelain urinal signed “R.
Mutt,” which was rejected by the Society of Independent Artists on the grounds
of indecency. Several editioned versions of Duchamp’s iconic objects are on
view now in an exhibition at Gagosian Gallery
Avenue location. Many of Duchamp’s original readymades were lost or destroyed
but 14 editions were published by Italian Dada scholar and collector Arturo
Schwarz, beginning in 1964.
Duchamp’s practice played Ulysses
to the fine art world,
drastically altering the modernist landscape and bringing into question every
previously held tenet about what art could be. We’ve come a long way
technologically and conceptually since Fountain
was first executed in
1917, but that isn’t to say that the lessons of Duchamp shouldn’t be at the
forefront of how we currently think about contemporary art. His ethos
transcended the act of creating; he once said
, “I like
living, breathing better than working...my art is that of living. Each second,
each breath is a work which is inscribed nowhere, which is neither visual nor
cerebral, it’s a sort of constant euphoria.” Around 1923, he “gave up” art to
devote his time to chess, which he believed was a purer symbolic expression of
living. Today’s art market has come to represent a chess game of sorts, with
questions of strategy, power, and objecthood often dominating the discourse.
Worth noting is the show’s inclusion of Duchamp’s Mona Lisa
readymade, adorned with a little mustache and the title L.H.O.O.Q
. When read
in French, the letters roughly pronounce, “She has a hot ass.” Fast-forward to Urs Fischer
and Maurizio Cattelan
difficult to find a conceptualist today who doesn’t use some sort of subtextual
humor or ironic distance in their execution. Duchamp elevated ordinary objects
to the realm of high art but iconoclasm was his real specialty. As we approach
the 100-year anniversary of Fountain
, let us ask ourselves where we can
take things from here. Revisiting Duchamp’s readymades in a gallery setting
allows us to ponder the next great creative revolution.
Note: Images are sourced from alternate editions of the works
included in the Gagosian show and referenced in the article. Versions of the
works may vary.
“Marcel Duchamp” is on view at Gagosian Gallery, 980 Madison Ave.,
New York, June 26 to August 8, 2014.