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Part Object Part Sculpture

Name: Part Object Part Sculpture
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Book Synopsis: How did you get the concept for Part Object Part Sculpture?I remain fascinated by the tricky nature of Duchamp’s readymades―objects transformed into art, but not quite. They always retain their original identity or function. This is why many people refer to Fountain in a casual way as “the urinal.” For me this is an acknowledgment that the work is part art, part not―part object, part sculpture. What is new about your interpretation of Duchamp?I insist that we see the readymades produced in the 1960s as quite different from the readymades that were purchased by Duchamp in the teens. They are different objects, with different sets of rules. Hence they behave differently in the gallery and ultimately mean different things. I have also tried to keep Duchamp’s readymades in dialogue with his lifelong interest in eros. These two strains of his thought have been kept separate―wrongly, I think―in the American reception of Duchamp. The artists featured in Part Object Part Sculpture come from different generations, different national traditions. Why do you bring them together in this exhibition and book?I am trying to map a genealogy of postwar sculpture that challenges the Minimalist/Post-Minimalist sequence maintained in most accounts of the period. The exhibition begins in the 1950s and comes up to the present. Also, it has become increasingly difficult to narrate postwar art as predominantly or exclusively American. Artists have been engaging in an enormous transatlantic dialogue. Is there any single work in the catalogue that can be singled out as emblematic of your intervention? No, not at all. It is precisely the constellation of figures like Burri, Duchamp, and Bourgeois, and then Duchamp and Hesse and Johns, and then Duchamp and Kusama and Gober, and then Duchamp and McElheney, that makes the exhibition so potentially interesting. How did you and your collaborators develop the scope and aim of the essays in the book?I asked writers who were working on the artists in the show and have won my admiration for the sensitivity of their writing and the unconventional nature of their thought. I then allowed them to write what they pleased. The outcome is a book to be considered as another site where the counter-genealogy is being built and argued for.

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Introducing the Part Object Part Sculpture Book, a thought-provoking exploration of art and its transformation. Inspired by Duchamp's readymades, this book delves into the intriguing concept of objects that become art while still retaining their original identity or function. Discover the fascinating world of art that blurs the lines between object and sculpture.

What sets our interpretation of Duchamp apart is our insistence on recognizing the differences between the readymades of the 1960s and those purchased by Duchamp in the earlier years. These distinct objects with unique sets of rules behave in their own profound ways in the gallery, resulting in different meanings altogether. We also shed light on Duchamp's lifelong interest in eros, intertwining it with his readymades in a way that challenges the American reception of his work.

Bringing together artists from different generations and national traditions, Part Object Part Sculpture presents a groundbreaking genealogy of postwar sculpture. Departing from the conventional Minimalist/Post-Minimalist narrative, this exhibition and book unfold the rich dialogue between artists from the 1950s up to the present. We believe that the international exchange of ideas has greatly influenced postwar art, making it impossible to ignore the transatlantic dialogue that has been taking place.

Emblematic of our intervention is the constellation of influential figures such as Burri, Duchamp, Bourgeois, Hesse, Johns, Kusama, Gober, and McElheney. Part Object Part Sculpture showcases their captivating works, creating an exhibition filled with endless fascination and profound artistic connections.

The essays in the book were crafted by writers who not only have a deep understanding of the artists featured in the exhibition but also possess a remarkable sensitivity in their writing and unconventional thinking. These thought-provoking essays provide another platform for the construction and argumentation of a counter-genealogy, solidifying Part Object Part Sculpture as an essential site of artistic discourse and exploration.

Explore the world of transformative art by diving into Part Object Part Sculpture Book. Unleash your curiosity and gain a new perspective on the boundaries of art and sculpture.

Get your copy now and embark on a journey that will challenge your perception of art and open your mind to new possibilities.

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