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Ready-Made Artist: The Genealogy of a Concept

Ready-Made Artist: The Genealogy of a Concept Ready- Made Artist The Genealogy of a Concept claire fontaine Claire Fontaine is a Paris- based collective artist founded in 2004. After lifting her name from a popular brand of French notebooks, she declared herself a “ready- made artist” and went on strike. She works in neon, sculpture, painting, and text. An earlier version of this piece was published in Flash Art International 270 (January– February 2010) and has been adapted here with permission of the publisher. 1. The ready- made is an aesthetic object that has no aesthetics, or whose principle of individuation is not aesthetic. “The choice of the Ready- made,” Duchamp states in 1961, “was never dictated by some aesthetic delectation. The choice was based on a reaction of visual indifference with at the same time a total absence of good or bad taste . . . in fact a complete anesthesia.” In the Dictionnaire abregé du surréalisme (1938) it is stated that the ready- made is a usual object promoted to the dignity of an artwork by the choice of the artist. The artist’s dispassionate choice and the time when it takes place are the only factors that provoke the transubstantiation from the banal object http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Qui Parle: Critical Humanities and Social Sciences University of Nebraska Press

Ready-Made Artist: The Genealogy of a Concept

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Publisher
University of Nebraska Press
ISSN
1938-8020

Abstract

Ready- Made Artist The Genealogy of a Concept claire fontaine Claire Fontaine is a Paris- based collective artist founded in 2004. After lifting her name from a popular brand of French notebooks, she declared herself a “ready- made artist” and went on strike. She works in neon, sculpture, painting, and text. An earlier version of this piece was published in Flash Art International 270 (January– February 2010) and has been adapted here with permission of the publisher. 1. The ready- made is an aesthetic object that has no aesthetics, or whose principle of individuation is not aesthetic. “The choice of the Ready- made,” Duchamp states in 1961, “was never dictated by some aesthetic delectation. The choice was based on a reaction of visual indifference with at the same time a total absence of good or bad taste . . . in fact a complete anesthesia.” In the Dictionnaire abregé du surréalisme (1938) it is stated that the ready- made is a usual object promoted to the dignity of an artwork by the choice of the artist. The artist’s dispassionate choice and the time when it takes place are the only factors that provoke the transubstantiation from the banal object

Journal

Qui Parle: Critical Humanities and Social SciencesUniversity of Nebraska Press

Published: Mar 21, 2014

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