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The readymades of Marcel Duchamp are ordinary manufactured objects that the artist selected and modified, as an antidote to what he called "retinal art".〔Tomkins: ''Duchamp: A Biography'', page 158.〕 By simply choosing the object (or objects) and repositioning or joining, titling and signing it, the Found object became art. Duchamp was not interested in what he called retinal art — art that was only visual — and sought other methods of expression. As an antidote to "retinal art" he began creating readymades at a time (1914) when the term was commonly used in the United States to describe manufactured items to distinguish them from handmade goods. He selected the pieces on the basis of "visual indifference,"〔Cabanne: ''Dialogs with Marcel Duchamp'', Thames and Hudson (1971), page 48. ''Cabanne: What determined your choice of readymades? Duchamp: That depended on the object. In general, I had to beware, at the end of fifteen days, you begin to like it or hate it. You have to approach something with indifference, as if you had no aesthetic emotion. The choice of readymades is always based on visual indifference and, at the same time, on the total absence of good or bad taste.''〕 and the selections reflect his sense of irony, humor and ambiguity. "...it was always the idea that came first, not the visual example," he said; "...a form of denying the possibility of defining art." The first definition of "readymade" appeared in André Breton and Paul Éluard's ''Dictionnaire abrégé du Surréalisme'': "an ordinary object elevated to the dignity of a work of art by the mere choice of an artist." While published under the name of Marcel Duchamp (or his initials, "MD," to be precise), André Gervais nevertheless asserts that Breton wrote this particular dictionary entry.〔Obalk, Hector: ("The Unfindable Readymade" ), toutfait.com, Issue 2, 2000.〕 Duchamp limited his yearly output of readymades, making no more than 20 in his lifetime. He felt that he could only avoid the trap of his own taste by limiting output, though he was aware of the contradiction of avoiding taste, yet also selecting an object. Taste, he felt, whether "good" or "bad," was the "enemy of art." His conception of the readymade changed and developed over time. "My intention was to get away from myself, though I knew perfectly well that I was using myself. Call it a little game between 'I' and 'me,'" he said.〔Tomkins: ''Duchamp: A Biography'', page 160.〕 Duchamp was unable to define or explain his opinion of readymades: "The curious thing about the readymade is that I've never been able to arrive at a definition or explanation that fully satisfies me."〔Tomkins: ''Duchamp: A Biography'', page 159.〕 Much later in life Duchamp said, "I'm not at all sure that the concept of the readymade isn't the most important single idea to come out of my work."〔 Robert Fulford described Duchamp's ready-mades as expressing "an angry nihilism".〔(nationalpost.com May 2015 )〕 == The objects themselves == By submitting some of them as art to art juries, the public, and his patrons, Duchamp challenged conventional notions of what is, and what is not, art. Some were rejected by art juries and others went unnoticed at art shows. Most of his early readymades have been lost or discarded, but years later he commissioned reproductions of many of them. 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「Readymades of Marcel Duchamp」の詳細全文を読む スポンサード リンク
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