Term used by the French artist Marcel Duchamp to describe works of art he made from manufactured objects
Duchamp’s earliest readymades included Bicycle Wheel of 1913, a wheel mounted on a wooden stool, and In Advance of the Broken Arm of 1915, a snow shovel inscribed with that title. In 1917 in New York, Duchamp made his most iconic readymade, Fountain, a men’s urinal signed by the artist with a false name and exhibited placed on its back. Later readymades could be more elaborate and were referred to by Duchamp as assisted readymades.
The theory behind the readymade was explained in an anonymous editorial published in the May 1917 issue of avant-garde magazine The Blind Man run by Duchamp and two friends:
Whether Mr Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, and placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object.
There are three important points here: first, that the choice of object is itself a creative act. Secondly, that by cancelling the ‘useful’ function of an object it becomes art. Thirdly, that the presentation and addition of a title to the object have given it ‘a new thought’, a new meaning. Duchamp’s readymades also asserted the principle that what is art is defined by the artist.
- See also postmodernism