Dating evidence duchamp bicycle wheel
Kuspit wrote that Duchamp’s ideological rejection of the sensual was a strategic response to Matisse who surpassed him in skill, hence Duchamp made his own brand conceptual rather than productive.
Research in psychology since his time has shown that aesthetics and our perception of beauty (both rejected by Duchamp) were in fact leading evolutionary advantages for Hominids, while today they are crucial components of the mind’s sophistication and spirituality, as well as necessary for mental health.
It’s possible the Readymade was an idea in search of an author when it thrust itself on Duchamp. The rules back then needed shaking up; this was a time when even photography struggled to be art.
The machine-made photograph at the push of a button seemed far from the art of achieving mastery of technique to the point of excellence, of mastering the art of something.
When Duchamp created the Readymade he begged the question of whether it really is a work of art. or any intention of showing it, or describing anything.
This allows that some meaning may yet be found tucked behind a blind spot. Duchamp seems to have eventually allowed the Readymades a quasi-art legitimacy, since others insisted, but with reservations; “the Readymade’ thrusts itself on me”.
Thegood that Duchamp has done did not get interred with his bones, even if I come to bury Caesar and not to praise him.
In placing his work beside that of his two friends, the Spaniard Francis Picabia and the American Man Ray, the show demonstrates that all three were operating on the same wavelength and pursuing similar goals”.
– Questioning the readymade – It took a hundred years of solitude for other questions posed by Duchamp to finally rise to consciousness, as there’s a side to him not yet considered.
It’s inevitable these questions would arise at the decline of postmodernism, itself a movement indebted to Dada, and as much against tradition and logic.
Duchamp’s unique contribution was that one could look at a work of art and deduce, or question, or discover the concept at the core.
While Duchamp complained of art being visual whereas he wanted to make it conceptual, and spoke of wanting to get rid of art, it is likely his denial of form was a psychological necessity to lessen the power of aesthetics in order to place idea as its core; this was Duchamp’s timely contribution to the cultural domain when he complained that the pendulum had swung too far in the other direction. An antithesis reminds us that in a study of form a concept will eventually arise, just as a study of concept must eventually take form.