Remaking the readymade: Duchamp, Man Ray, and the conundrum of the replica PDF
Preview Remaking the readymade: Duchamp, Man Ray, and the conundrum of the replica
Remaking the Readymade Replication and originality are central concepts in the artistic oeuvres of Marcel Duchamp and Man Ray. Remaking the Readymade reveals the underlying and previously unexplored processes and rationales for the collaboration between Duchamp, Man Ray, and Arturo Schwarz on the replication of readymades and objects. The 1964 editioned replicas of the readymades sent shock waves through the art world. Even though the replicas undermined ideas of authorship and rendered the notion of identity and the artist problematic, they paradoxically shared in the aura of the originals, becoming stand-ins for the readymades. Scholar-poet-dealer Arturo Schwarz played a crucial role, opening the door to joint or alternate authorship – an outstanding relationship between artist and dealer. By unearthing previously unpublished correspondence and documentary materials, and combining this material with newly conducted exclusive interviews with key participants, Remaking the Readymade details heretofore unexplored aspects of the technical processes involved in the (re)creation of iconic, long-lost Dada objects. Launched on the heels of the centenary of Duchamp’s Fountain, this new analysis intensifies and complicates our understanding of Duchamp and Man Ray’s initial conceptions, and raises questions about replication and authorship that will stimulate significant debate about the legacy of the artists, the continuing significance of their works, and the meaning of terms such as creativity, originality, and value in the formation of art. Adina Kamien-Kazhdan, PhD, is David Rockefeller Senior Curator, The Stella Fischbach Department of Modern Art at The Israel Museum, Jerusalem. Studies in Surrealism Series Editor: Gavin Parkinson, The Courtauld Institute of Art With scholarly interest in Surrealism greater than ever, Studies in Surrealism serves as a major forum for key areas of inquiry into the activities of the Surrealist movement. The series extends the ongoing academic and popular interest in Surrealism, evident in recent studies that have rethought established areas of Surrealist activity and engage- ment, including those of art, politics, the object, exhibitions, photography, popular culture, crime and science. Expanding and adding to existing lines of inquiry, books in the series examine Surrealism’s intersections with philosophical, social, artistic and literary themes. www.routledge.com/Studies-in-Surrealism/book-series/2123 Sacred Surrealism, Dissidence and International Avant-Garde Prose Vivienne Brough-Evans Appropriated Photographs in French Surrealist Periodicals, 1924–1939 Linda Steer Angela Carter and Surrealism ‘A Feminist Libertarian Aesthetic’ Anna Watz A Surrealist Stratigraphy of Dorothea Tanning’s Chasm Catriona McAra Surrealism and the Gothic Castles of the Interior Neil Matheson Remaking the Readymade Duchamp, Man Ray, and the Conundrum of the Replica Adina Kamien-Kazhdan André Breton in Exile The Poetics of “Occultation,” 1941–1947 Victoria Clouston Remaking the Readymade Duchamp, Man Ray, and the Conundrum of the Replica Adina Kamien-Kazhdan First published 2018 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 Adina Kamien-Kazhdan The right of Adina Kamien-Kazhdan to be identified as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record for this book has been requested ISBN: 978-1-4724-7816-0 (hbk) ISBN: 978-0-429-45372-4 (ebk) Typeset in Sabon by Apex CoVantage, LLC Contents List of illustrations vii Acknowledgements xii Introduction: Challenging originality, authenticity, and authorship 1 PART I Replication in the 20th century and the Galleria Schwarz 19 1 Replication in the 20th century: Motivations, terms, and issues 21 Replication: terms and definitions 21 Replication: why and when? 23 Multiples of the 1950s and 1960s: new initiatives of artists and dealers 35 The replica’s aura: legal and theoretical questions 43 2 Galleria Schwarz 50 Arturo Schwarz: from Alexandria to Milan 50 The Libreria-Galleria Schwarz 52 Views on Dada and Surrealism 56 Schwarz, Breton, and Trotsky 58 Judaism, Kabbalah, and alchemy 61 Collection and donation 62 PART II Replication in the oeuvre of Duchamp and Man Ray 67 3 Duchamp: “Not an original in the conventional sense” 69 Duchamp and the readymade 70 Duchamp and replication 80 Duchamp replicators 1950–1966 86 vi Contents 4 Man Ray’s “Objects of My Affection” 110 Multiform Man Ray 110 Exhibitions and reputation 112 “Objects of My Affection”: dreams and plastic poetry 120 The Duchamp–Man Ray creative exchange 128 Replication of Man Ray’s objects pre-Schwarz 130 PART III Commissioning and fabrication of the editioned replicas 139 5 Mirrorical return: Marcel Duchamp’s editioned readymades 141 Duchamp and Schwarz 142 Initial joint projects: the erotic objects 145 Exhibitions at the Galleria Schwarz and commissioning of replicas 147 Making the editioned replicas 159 Case-by-case analysis of the 1964–65 editions 166 Conclusions 192 6 The “Indestructible” Man Ray 200 Man Ray and Schwarz: The Rigour of Imagination 201 Exhibitions at the Galleria Schwarz and commissioning of replicas 201 The replication process 210 1963–64 editioned replicas 212 Other editors of Man Ray’s objects 230 Conclusions 247 7 Reception of the editioned replicas 257 Duchamp: the value of the readymade and its replicas 257 Critical reception of the 1964 editions 260 Impact on artists and scholarship 265 Art market history and museum purchasing policies 267 Conclusions 289 Conclusion 299 Bibliography 307 I Unpublished correspondence 307 II Interviews 318 III General 320 IV List of Arturo Schwarz publications (books, essays, and poetry) 336 Index 343 Illustrations Text I.1 Marcel Duchamp, Comb (Peigne), New York, 11 a.m., February 17, 1916 4 I.2 Marcel Duchamp, Fountain, New York, April 1917 5 I.3 Photograph of lost original Hat Rack (along with In Advance of the Broken Arm and Fountain) suspended from ceiling of Duchamp’s studio at 33 West 67th Street, ca. 1917–18, later retouched by Duchamp 5 I.4 Marcel Duchamp, 50 cc of Paris Air, 1919 6 I.5 Marcel Duchamp, Why Not Sneeze Rose Sélavy?, New York, 1921 6 I.6 Man Ray, Gift (Cadeau), 1921 9 I.7 Man Ray, Target (Mire universelle), 1933 9 I.8 Man Ray, Torso (Torse), Paris, 1936 10 I.9 Man Ray, Monument to the Unknown Painter (Monument au peintre inconnu), Paris, 1955 10 I.10 Man Ray, French Ballet I (Ballet Français I), Paris, 1956 11 1.1 Marcel Duchamp, Optical Disks (Rotoreliefs), 1935; Galleria Schwarz editioned replica, Milan, 1965 39 1.2 Man Ray, Lampshade, lost original 1919; Edition MAT multiple 1959 39 2.1 The Culture bookshop, Alexandria, 1947 51 2.2 Arturo Schwarz in his bookshop, Alexandria, 1947 52 2.3 Facade of the Libreria Schwarz, Milan 53 2.4 Duchamp and Schwarz in the Galleria Schwarz, Milan, March 1964 55 2.5 Man Ray exhibition opening, Galleria Schwarz, Milan, March 1964 55 2.6 Marcel Duchamp and Man Ray, Dust Breeding (Elevage de Poussiére), Paris, 1920; reprinted 1964 56 3.1 Marcel Duchamp, Miniature papier-mâché and inter-positive versions of Fountain, 1938; Replicas for the Boîte-en-valise 85 3.2 Marcel Duchamp, Fountain, 1917; New York, 1950, unique replica selected by Sidney Janis at request of the artist 88 3.3 Marcel Duchamp, Bicycle Wheel (Roue de bicyclette), lost original 1913; New York, 1951, unique replica assembled by the artist 89 3.4 Marcel Duchamp, In Advance of the Broken Arm (En avance du bras cassé), lost original 1915; 1945 unique replica purchased by Duchamp for the Société Anonyme exhibition 92 3.5 Marcel Duchamp, Bottle Rack (Porte-Bouteilles), late 1958–early 1959; readymade: replica of lost 1914 original, signed 1960 95 viii Illustrations 3.6 Marcel Duchamp, Fountain (Fontaine), lost original 1917; unique replica by Ulf Linde, Stockholm, 1963 97 3.7 Julian Wasser, Marcel Duchamp and Walter Hopps in the Duchamp retrospective at the Pasadena Art Museum, 1963 100 4.1 Man Ray, Gift (Cadeau), lost original 1921; unique replica 1958 114 4.2 Man Ray, What We All Lack (Ce qui manque à nous tous), lost original 1927; unique replica by Man Ray, 1936 117 4.3 Man Ray, Maquette for the book Objects of My Affection, 1944 120 4.4 Man Ray, New York, destroyed original 1920; Studio Marconi editioned replica made by Treillard, 1973 122 5.1a Installation photograph of the exhibition “Homage to Marcel Duchamp,” Galleria Schwarz, Milan, 1964 150 5.1b Installation photograph of the exhibition “Homage to Marcel Duchamp,” Galleria Schwarz, Milan, 1964 151 5.2 Installation photograph of the exhibition “Homage to Marcel Duchamp,” Galleria Schwarz, Milan, 1964 151 5.3 Marcel Duchamp, Mirrorical Return (Renvoi miroirique), cover image for the catalogue Marcel Duchamp, Ready-Mades, etc. (1913–64), 1964 154 5.4 Installation photograph of the exhibition “Marcel Duchamp,” Gimpel Fils gallery, London, December 1964–January 1965 157 5.5 Marcel Duchamp, Bicycle Wheel, lost original 1913; Galleria Schwarz editioned replica, Milan, 1964 (number 8/8) 167 5.6a Working drawing (stool) for editioned replica of Marcel Duchamp, Bicycle Wheel 168 5.6b Working drawing (fork) for editioned replica of Marcel Duchamp, Bicycle Wheel 169 5.7 Diagram of elements of Marcel Duchamp, 3 Standard Stoppages, prepared by the Museum of Modern Art, New York, for the Galleria Schwarz editioned replica, August 1964 171 5.8 Marcel Duchamp, Bottlerack, original 1914; Galleria Schwarz editioned replica, 1964, Milan (Ex. Rrose) 173 5.9 Working drawing for editioned replica of Marcel Duchamp, Bottlerack 174 5.10 Working drawing for editioned replica of Marcel Duchamp, In Advance of the Broken Arm 176 5.11 Diagram of Marcel Duchamp, Comb with inscriptions prepared by The Philadelphia Museum of Art for the preparation of the Galleria Schwarz editioned replica, July 1964 177 5.12 Prototype/Artist’s proof for Galleria Schwarz editioned replica of Marcel Duchamp, With Hidden Noise (À bruit secret), Milan, 1964 178 5.13 Interim state of editioned replica of Marcel Duchamp, Apolinère Enameled, Milan, 1965 181 5.14 Marcel Duchamp, Fountain, lost original 1917; Galleria Schwarz editioned replica, Milan, 1964 (number 8/8) 183 5.15a Working drawing (plan) for editioned replica of Marcel Duchamp, Fountain 184 5.15b Working drawing (front view) for editioned replica of Marcel Duchamp, Fountain 184 Illustrations ix 5.15c Working drawing (section) for editioned replica of Marcel Duchamp, Fountain 185 5.16 Terracotta model for editioned replica of Marcel Duchamp, Fountain 185 5.17 Working drawing for editioned replica of Marcel Duchamp, Hat Rack 188 5.18 Marcel Duchamp, Paris Air, original 1919; Galleria Schwarz editioned replica, Milan, 1964 (number 8/8) 189 6.1 Man Ray, Gift (Cadeau), lost original 1921; Galleria Schwarz editioned replica, Milan, 1963 214 6.2 Man Ray, Instructions for assembling Obstruction, 1964 216 6.3 Man Ray, The Enigma of Isidore Ducasse (L’énigme d’Isidore Ducasse), dismantled original 1920; replica by The Museum of Modern Art, New York, 1967 219 6.4 Man Ray, The Enigma of Isidore Ducasse (L’énigme d’Isidore Ducasse), Photograph of the Galleria Schwarz editioned replica (number 7/10) after damage by customs officials in shipment 222 6.5 Man Ray, The Enigma of Isidore Ducasse (L’énigme d’Isidore Ducasse), dismantled original 1920; unique replica, Lucien Treillard, Paris, 1972 222 6.6 Man Ray, Monument to the Unknown Painter (Monument to a Painter), 1955; Galleria Schwarz editioned replica, Milan, 1971 227 6.7 Man Ray, It’s Springtime III, 1958; Galleria Schwarz editioned replica, Milan, 1971 (number 4/10) 230 6.8 Man Ray, Emak Bakia, lost original 1926; Studio Marconi editioned replica, Milan, 1970 236 6.9 Man Ray, Gift (Cadeau), lost original 1921; Galleria Il Fauno multiple, Turin, 1972 241 7.1 Sale results for complete set of the Galleria Schwarz editioned replicas of Duchamp’s readymades 267 7.2 Sale results for the Galleria Schwarz 1964 editioned replica of Duchamp’s Fountain, 1974–2002 280 7.3 Sale results for the Galleria Schwarz 1963 editioned replica of Man Ray’s Gift (Cadeau), 1964–2006 283 7.4 Sale results for Il Fauno 1974 edition of multiples of Man Ray’s Gift (Cadeau) 284 7.5 Installation photograph of the exhibition “No Place Like Home”, The Israel Museum, Jerusalem, 2017 291 Color Plates 1 Marcel Duchamp, 3 Standard Stoppages (3 stoppages étalon), 1913–14 2 Marcel Duchamp, With Hidden Noise (À bruit secret), New York, Easter 1916 3 Marcel Duchamp, Apolinère Enameled, New York, 1917 4 Marcel Duchamp, Fresh Widow, 1920 5 Man Ray, Main Ray, Paris, 1935 6 Marcel Duchamp, The Bride Stripped Bare by her Bachelors, Even (The Large Glass), 1915–23
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