3/27/2023 0 Comments Retina art or the unretina art![]() In Marcel Duchamp: Appearance Stripped Bare, the Mexican poet and Duchamp scholar Octavio Paz points out that “the Readymade is not a work but a gesture.” That Duchamp and Koons have both used readymades is less important than the fact that both artists have deployed them-alongside other tools-in an effort to provoke questions surrounding taste, class, eroticism, sexuality, and consumerism. īut perhaps Koons’s bigger debt to the French artist lies in the latter’s conceptual groundwork. Take, for example, the gallery in Jumex’s open, sunlit floor that’s adorned with a shovel hanging from the ceiling, Duchamp’s In Advance of the Broken Arm (1915) three vacuum cleaners happily lined up in a glass display, Koons’s New Hoover Convertibles, New Shelton Wet/Drys 5 Gallon, Doubledecker (1981–87) and a basketball eerily suspended in a fish tank, Koons’s One Ball Total Equilibrium Tank (Spalding Dr. And indeed, with the work of both Koons and Duchamp showing in the same space, the exhibition at Jumex might be mistaken for a department store with a bizarre, but delightful, sense of humor. To Gioni, this story reflected a question Duchamp had originally raised in his notes on “Reciprocal Readymades”: Is it possible for something that has previously been considered a work of art to be used, valued, and seen as an ordinary object? “I always thought was a strange fulfilment of Duchamp’s prophecy,” Gioni explained.Ĭritics often draw parallels between the two artists’ use of readymades-everyday objects re-contextualized as art. Legend has it, the curator explained, that the display was so enticing that people went inside the museum to ask about purchasing the vacuums. The appliances, suspended vertically and lit from below, were part of a work entitled The New (A Window Installation) (1980). People walking by the show at the New Museum’s former location near Union Square in New York might have noticed a series of vacuum cleaners and floor buffers in its windows. Gioni recounted an anecdote of Koons’s first solo exhibition, held in the summer months of 1980. ![]()
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