The history of art tells us that art changed from the ancient era to the Middle Ages, from the Renaissance to modernism and postmodernism. The driving force behind this evolution is claimed to be external forces: social, political, even personal. As soon as these forces change, art changes—or so goes the argument. The trouble with this picture is that it describes well what happened, but it gives no idea of what will happen next. And it cannot tell us this precisely because it looks backward and assumes the driving forces to be external to art.

→ Continued from “Neo-Materialism, Part I: The Commodity and the Exhibition” in issue 20. Readymade and Unreadymade Traditionally, by employing a series of strategies incorporating appropriation, composition, abstraction, re-contextualization, and de-contextualization of different commodities, modern art tried to see an entity beyond the ever-present commodity. In an art context, the commodity, this omnipresent “other entity” with which we are engaged in a network of…

In modern art, the increasing resemblance of art objects to everyday objects raised the threat of eroding of any real difference between works of art and other things. Barnett Newman railed against both Duchamp’s readymades and “Bauhaus screwdriver designers” who were elevated to the ranks of artists by the Museum of Modern Art’s doctrine of “Good Design.” 1 The danger for art was the same in both cases: the dissolving of the dividing line between works of art and everyday objects. Just as…

One could say that everything begins and ends in Marcel Duchamp’s studio. His first New York studio is perhaps best known from a series of small and grainy photos, some of them out of focus. They were taken sometime between 1916 and 1918 by a certain Henri-Pierre Roché, a good friend of Duchamp. Roché was a writer, not a professional photographer, clearly. He was the same guy who would go on to write Jules et Jim , arguably a far better novel than these are photographs. But their aesthetic…