Readymades of Marcel Duchamp

At the turn of the century, the term "ready-made" referred to manufactured goods as opposed to handmade goods. Critical reaction to Duchamp's decision to reproduce the readymades was generally negative. Artist Daniel Buren, for example, said that Duchamp had "sold out to commercialism". As decades passed, however, the Galleria Schwarz replicas "gradually became mainstreamed and eventually became stand- ins for the lost originals, sharing their status and value", according to Israel Museum curator Adina Kamien.

As a definition, Duchamp’s readymades are ordinary manufactured objects elevated to the status of art through selection and titling rather than craft. Scholars have connected Duchamp’s notes to Henri Poincaré’s account of “unconscious work” in mathematical invention; Poincaré wrote that such work never supplies “the result of a lengthy calculation ... ready‐made,” but only points of departure later verified by conscious effort.

Readymades of Marcel Duchamp (wikipedia)

Diffs of Marcel Duchamp (reverted on Wikipedia)

Wikimedia Commons

Tout-fait (as referenced on wikipedia)

Wikidata objects

Readymades on Grokipedia ("adapted" from Wikipedia)

Groks of Marcel Duchamp (AI edits)

DRP DMCA Notice

1; 2A–F; 3A–B; 4A–C; 5–6; 7A–D; 8A; 9; 10–11; 12A–D; 13A–C; 14A–E; 15A–B; 16A–B; 17–18; 19A–B; 20A–C; 21A–B; 22A–C; 23A–E; 23F–I; 24A–C; 25A–B; 26A–B; 27–32; 33A–B; 34A–H; 35A–E; 36A–E; 37A–D; 38A–B; 39A; 40A–F; 41A–D; 42A–D; 43A–C; 44A–B; 45A–C; 46A–C; 47A–B; 48; 49A–D; 50A–B; 51A–G; 52A–F; 53–54A–C; 54D; 55; 56A–B; 57A–C; 59–60; 61–62.

A systematized audit was undertaken by the Art Science Research Laboratory in 1997 using digital/physical models and forensic photographs to catalogue the inconsistencies within Duchamp’s own emphasis on seriality and a non‐retinal, “scientific” perspective.