Abstract

 
 
 Within half a century, the status of Duchamp’s readymades changed from iconoclastic object to iconic sculpture. This contribution focusses on two of Duchamp’s readymades, one from 1915 and thus dated at the very beginning of Duchamp’s occupation with this subject matter, while the other is dated 1967, the very last object to enter this particular category within Duchamp’s oeuvre. André Breton remarked that “future generations can do no less than make a systematic effort to go back the stream of Duchamp’s thought and carefully describe its meanderings in search of the hidden treasure which was his mind.” It is with these suggestions in mind that, after the examination of an heretofore unknown readymade from the 1910’s and his collage Pollyperruque from the year before he passed away, final observations will examine the 100th anniversary of Duchamp’s Fountain to reassess the readymade’s potential as an analog object and social media phenomenon in the digital realm.
 
 
Highlights
Within half a century, the status of Duchamp’s readymades changed from iconoclastic object to iconic sculpture
André Breton remarked that “future generations can do no less than make a systematic effort to go back the stream of Duchamp’s thought and carefully describe its meanderings in search of the hidden treasure which was his mind.”. It is with these suggestions in mind that, after the examination of an heretofore unknown readymade from the 1910’s and his collage Pollyperruque from the year before he passed away, final observations will examine the 100th anniversary of Duchamp’s Fountain to reassess the readymade’s potential as an analog object and social media phenomenon in the digital realm
Of the Stettheimer sisters—three artistically inclined socialites of considerable family wealth, all of which Duchamp taught French and all of which were in love with Duchamp—he took the most liking to Ettie (1875-1955), the youngest one, a forthright writer and philosopher, who continued to include the artist friend as a character in many of her novels. In his many affectionate letters to the Stettheimer sisters from Buenos Aires, it is in his lines to Ettie, within his correspondence of early 1919, that he discusses the concept of the readymades: “Have you heard about the ‘ready mades’? If not, ask Roché[3] about them
Summary
The status of Duchamp’s readymades changed from iconoclastic object to iconic sculpture. 49 “That Very Funny Article,” Pollyperruque, and the 100th Anniversary of Duchamp’s Fountain
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