Aftershock: The Legacy of the Readymade in Post-War and Contemporary American Art
On view at Dickinson’s New York gallery at 19 East 66th Street from May 5 through June 20, 2003. While Duchamp’s influence is widespread, this exhibition aims to focus on the importance of the readymade as the preeminent body of Duchamp’s work and the most lasting part of Duchamp’s legacy. We will exhibit approximately 40 paintings, drawings and sculptures by various Post-War and Contemporary American artists. The exhibition will show how Duchamp’s readymades influenced art throughout the Post-War period and how they continue to do so today.
We are producing a fully illustrated catalogue for which Francis Naumann, the world’s foremost expert on Marcel Duchamp, has written a fascinating text on the origins and evolution of the readymade. We have also commissioned an essay from Thomas Girst, a Duchamp scholar and contemporary art critic based in Germany, on how the artists in the exhibition relate to the work of Duchamp. Amongst the highlights that we have already confirmed for the exhibition are Andy Warhol’s Schlitz Cans from 1962, Jasper Johns’s drawing for Coat Hanger from 1958 (we have also written to the owner of the Coat Hanger painting to request its loan), Robert Rauschenberg’s combine sculpture 193466 from 1961, Claes Oldenburg’s London Ball from 1967 and Joseph Kosuth’s Three in One Stool from 1965. We have also secured other works by: Jasper Johns, Robert Rauschenberg, Claes Oldenburg, Andy Warhol, Roy Lichtenstein, Christo, Joseph Kosuth, Robert Arneson, Bruce Nauman, Richard Pettibone, Elaine Sturtevant, Jeff Koons, Robert Gober, Felix Gonzalez-Torres, Sherrie Levine, Richard Prince, Louise Lawler and Sophie Matisse.