Άρθρο/Article: Introduction to the Readymade, by Graham Culter
– Smith
(© artintelligence)
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Kurt
Schwitters’ Merzbau project began in 1923 and lasted
until his death in 1948. © artintelligence
|
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Donald
Judd, Untitled, 1966. Stainless steel and yellow Plexiglas.
Six 34 inch cubes, © artintelligence
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[…] An examination of the evolution of
aesthetic anarchism into institutionalised transgression begins with Duchamp’s
Fountain, 1917. This work is critical because it has become an icon of
deconstructive art—and, more particularly, deconstructive sculpture. It is also
particularly relevant to the growth of installation art as a major movement in
the 1990s, not least because installation art is intimately connected with the
role of the gallery/museum. It was the Readymade, encompassed by the discourses
of Dada and Surrealism, which revealed the gallery/museum as an aesthetic
regime that determines what is and what is not art via processes of inclusion
and exclusion…..
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