"The readymade was thing plus text," Dickerman writes.
Duchamp also invented the concept of the "readymade," a common object promoted to artistic status, and the readymade is the Rosetta stone of Koons's art.
De Duve believes that the message of the readymade has been misunderstood.
This doesn't just go for paintings but the readymade as well.
Warhol is an artist who apparently uses the readymade to distance himself from emotion.
Smithson: "Minimalism amalgamated abstraction and the readymade, but it didn't go far enough.
Cake making, pottery – it all frees us from the readymade supermarket world.
Art in 2004 revels in the lo-fi, the amateurish, the readymade.
The people were the readymade I cared about, and that was where the art was, in the viewer.
Invoked, of course, was the evergreen aesthetic of the readymade, demonstrated by Marcel Duchamp with a urinal, in 1917.
So does this research prove the readymade is the ultimate triumph of art's emotional withdrawal from the world?
