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Lot Essay
This poster reproduces WANTED: $2,000 REWARD, 1923 (Schwarz catalogue raisonne no. 403), Duchamp's Rectified Readymade using a spoof on a "criminal wanted" poster found in a New York restaurant to which he affixed side and full-front views of himself. The Poster was designed by Duchamp.
On the occasion of the exhibition Omaggio a Marcel Duchamp, Galleria Schwarz, Milan, 1964, five, un-numbered posters were signed, lower right, in pencil, 'Marcel Duchamp,' and were released by the gallery. The present example is one of those rare five examples and is dedicated to Dennis Hopper who attended the Pasedena show with Duchamp.
This work was made in conjunction with Duchamp's first American retrospective exhibition in 1963. This exhibition marked a paradigm shift in the art-world; away from the tenets of abstract expressionism and toward a new conceptualism seen in the work of Baldessari, Ruscha and Irwin to name a few based in Los Angeles.
Duchamp, in the case of his readymades, elevated the ordinary to art by signifying his act of choosing with the application of his signature. This act made environment anti-environmental thus challenging the viewer's conventional perception of an object. In this case Duchamp plays with the pun of making an early poster into a poster for the Pasedena show by expanding it in exact proportion and signing it.
On the occasion of the exhibition Omaggio a Marcel Duchamp, Galleria Schwarz, Milan, 1964, five, un-numbered posters were signed, lower right, in pencil, 'Marcel Duchamp,' and were released by the gallery. The present example is one of those rare five examples and is dedicated to Dennis Hopper who attended the Pasedena show with Duchamp.
This work was made in conjunction with Duchamp's first American retrospective exhibition in 1963. This exhibition marked a paradigm shift in the art-world; away from the tenets of abstract expressionism and toward a new conceptualism seen in the work of Baldessari, Ruscha and Irwin to name a few based in Los Angeles.
Duchamp, in the case of his readymades, elevated the ordinary to art by signifying his act of choosing with the application of his signature. This act made environment anti-environmental thus challenging the viewer's conventional perception of an object. In this case Duchamp plays with the pun of making an early poster into a poster for the Pasedena show by expanding it in exact proportion and signing it.