"The Old Fox"

Marcel Duchamp: a system of paradox in resonance.

The man inspires the highest regard (often the love) of those who know him; the public so often regards his work as anathema. He ranks with the greatest artists of the century without any conscious concern for either greatness or specifically being an artist. None of his peers has produced or exhibited as little as he to achieve such stature. He is "a merchant of wit" who's major works are as complex as any produced in the time. It has been said: Duchamp shows it hard, but in the easiest way. 

The paradox of this characterization resolves in a word (and a pun): an-artist. Being neither "anti" nor "pro" art, he has directly and indirectly further the development of many colleagues and modern art in general, participating in movements without the need to join, warning that art can be "a habit-forming drug," and cautioning that removed from the glare and noise of today's vast art world, vital activities will go on "underground." The gentleman is truly an-artist.

As to Duchamp's achievement ("greatness"), let it be enough to say that in spite of all (and intentions, even) the depth and meaning in his work continues to unfold and seems increasingly pertinent. In his pioneering, particularly that of object art with its marriage of "things" and "linguistic concepts," he has registered an incredible number of "patents." 

Walter Hopps

[Single page document found in Norton Simon Museum archives on MD's 1963 retrospective, by or of Marcel Duchamp or Rrose Selavy; n.d.

Photograph by Julian Wasser; © Copyright by Julian Wasser.

KATZEN ART CENTER "CALL FOR ENTRIES" FOR "READYMADE@100"

This Fall, the American University Museum at Katzen Arts Center will present “Readymade@100,” an exhibit celebrating the 100th anniversary of Marcel Duchamp’sreadymade concept. The exhibition is curated by Maryland artist, art theorist, and Corcoran College of Art and Design professor Mark Cameron Boyd and includes an “open call,” juried exhibit opportunity seeking submissions of “new” readymades from artists that significantly expand upon Duchamp’s idea. As the originary conceptual act, Duchamp’s choice of commercially available objects for art exhibition, such as “Bottle Rack” and his infamous “Fountain”urinal, secured his reputation in art history. It was Duchamp’s location of these objects within the “art context” that began a century of debate about the definitions of art and established Duchamp’s influence on contemporary art practices.“Readymade@100” will both celebrate Duchamp’s vision and recognize the relevance of the readymade by exhibiting new work by emergent artists that continue a contemporary development of the concept.

The American University Museum will publish a catalog of the exhibition with reproductions of selected artworks and a curatorial essay, and public talks and a lecture are planned during the exhibition.

CALL FOR ENTRIES

Submissions of artwork must be in high-resolution (300dpi) digital format and must be received by June 15, 2014. Artists interested in submitting work who require further information may contact museum@american.edu