CONNECTING THREADS: DUCHAMP’S READYMADES AND LARGE GLASS PROJECT IN CONTEXT, 1913—14

Authors

  • Linda Dalrymple Henderson

DOI:

https://doi.org/10.7146/nja.v28i57-58.114850

Keywords:

Duchamp, Readymades, Large Glass, Science, Ether physics, Herne Bay, Electrical lighting

Abstract

In 1963 Duchamp described his vertical installation of three Readymades at the Pasadena Art Museum as “readymade talk of what goes on in the Large Glass.” Elsewhere, he spoke of the Readymades as “vehicles for unloading ideas,” and during the years 1912-15 his mind was filled with ideas as he invented the “playful physics” for his techno-scientific allegory of quest, The Bride Stripped Bare by Her Bachelors, Even [The Large Glass] (1915-23). This essay argues that the “ideas” being unloaded in the Readymades were rooted in his extensive study of contemporary science and technology as well as the biographical experience of his stay at Herne Bay on the English seacoast during August 1913. Readymades addressed include the Bicycle Wheel, With Hidden Noise, Paris Air, and Fresh Widow. Central themes include string or thread, traced from his preoccupation with tennis during his holiday, and the impact of the electrical spectacle of the illuminated Pier Pavilion at Herne Bay.

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Published

2019-06-21

How to Cite

Henderson, L. D. (2019). CONNECTING THREADS: DUCHAMP’S READYMADES AND LARGE GLASS PROJECT IN CONTEXT, 1913—14. The Nordic Journal of Aesthetics, 28(57-58), 65–86. https://doi.org/10.7146/nja.v28i57-58.114850

Issue

Vol. 28 No. 57-58 (2019)

Section

Articles

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