|
Found object originates from the French ''objet trouvé'', describing art created from undisguised, but often modified, objects or products that are not normally considered art, often because they already have a non-art function.〔(definition of Objet trouvé at the MoMA Art Terms page )〕 Pablo Picasso first publicly utilized the idea when he pasted a printed image of chair caning onto his painting titled ''Still Life with Chair Caning'' (1912). Marcel Duchamp is thought to have perfected the concept several years later when he made a series of ready-mades,〔(The term is written as "ready-made" at MoMA Art Terms page )〕 consisting of completely unaltered everyday objects selected by Duchamp and designated as art.〔Chilvers, Ian & Glaves-Smith, John eds., ''Dictionary of Modern and Contemporary Art'', Oxford: Oxford University Press, 2009. pp. 587–588〕 The most famous example is ''Fountain'' (1917), a standard urinal purchased from a hardware store and displayed on a pedestal, resting on its side. In its strictest sense art term "ready-made" is applied exclusively to works produced by Marcel Duchamp, who borrowed the term from the clothing industry while living in New York, and especially to works dating from 1913 to 1921.〔(MoMA Art Terms page )〕 Found objects derive their identity as art from the designation placed upon them by the artist and from the social history that comes with the object. This may be indicated by either its anonymous wear and tear (as in collages of Kurt Schwitters) or by its recognizability as a consumer icon (as in the sculptures of Haim Steinbach). The context into which it is placed is also a highly relevant factor. The idea of dignifying commonplace objects in this way was originally a shocking challenge to the accepted distinction between what was considered ''art'' as opposed to ''not art''. Although it may now be accepted in the art world as a viable practice, it continues to arouse questioning, as with the Tate Gallery's Turner Prize exhibition of Tracey Emin's ''My Bed'', which consisted literally of her unmade and disheveled bed. In this sense the artist gives the audience time and a stage to contemplate an object. Appreciation of found art in this way can prompt philosophical reflection in the observer. However, as an art form, found objects tend to include the artist's output—at the very least an idea about it, i.e. the artist's designation of the object as art—which is nearly always reinforced with a title. There is usually some degree of modification of the found object, although not always to the extent that it cannot be recognized, as is the case with ready-mades. Recent critical theory, however, would argue that the mere designation and relocation of any object, ready-mades included, constitutes a modification of the object because it changes our perception of its utility, its lifespan, or its status. ==Origin: Duchamp== (詳細はMarcel Duchamp coined the term ''ready-made'' in 1915 to describe a common object that had been selected and not materially altered in any way. Duchamp assembled ''Bicycle Wheel'' in 1913 by attaching a common front wheel and fork to the seat of a common stool. This was not long after his ''Nude Descending a Staircase'' was attracting the attention of critics at the International Exhibition of Modern Art. In 1917, ''Fountain'', a urinal signed with the pseudonym "R. Mutt", and generally attributed to Duchamp, confounded the art world. In the same year, Duchamp indicated in a letter to his sister, Suzanne Duchamp, that a female friend was centrally involved in the conception of this work. As he writes: "One of my female friends who had adopted the pseudonym Richard Mutt sent me a porcelain urinal as a sculpture."〔Duchamp, Marcel trans. and qtd. in Gammel, Irene. ''Baroness Elsa: Gender, Dada and Everyday Modernity''. Cambridge, MA: MIT Press, 2002, 224.〕 Irene Gammel argues that the piece is more in line with the scatological aesthetics of Duchamp's friend, the Baroness Elsa von Freytag-Loringhoven, than Duchamp's.〔Gammel, ''Baroness Elsa'', 224–225.〕 Research by Rhonda Roland Shearer indicates that Duchamp may have fabricated his found objects. Exhaustive research of mundane items like snow shovels and bottle racks in use at the time failed to reveal identical matches. The urinal, upon close inspection, is non-functional. However, there are accounts of Walter Arensberg and Joseph Stella being with Duchamp when he purchased the original ''Fountain'' at J. L. Mott Iron Works.〔Shearer, Rhonda Roland: ("Marcel Duchamp's Impossible Bed and Other 'Not' Readymade Objects: A Possible Route of Influence From Art To Science" ), 1997.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Found object」の詳細全文を読む スポンサード リンク
|