岩見亮「マルセル・デュシャンにおけるレディ・メイド概念の変遷」『美學』65(2), 49-60, 2014-12-31

【リンク】

Marcel Duchamp's Ready-made has long been considered a pioneer in the anti-visual, anti-aesthetic and conceptual arts, which decisively influenced the historical development of contemporary American art after abstract expressionism. Surveying the discourse of Duchamp, however, we see that he had changed his concept of the ready-made depending on art historical conditions. This paper aims to first point out that the ready-made, anti-aesthetic and conceptual in nature, in fact, emerged and came to the fore simultaneously with the very arts which had been considered to be influenced by the ready-made; and second, to elucidate the significant role Clement Greenberg's formalist criticism played, which was already distinguished at that time, in the formation of the concept of the ready-made. It is thought that during the 1960's Duchamp intentionally contrasted his idea of the ready-made and Greensburg's American modernism, a binary which, to this day, still functions as the theoretical basis for the understanding of the history of contemporary art.

エルゴン／パレルゴン（デリダ）

現代芸術の交通論―西洋と日本の間にさぐる (京大人気講義シリーズ)

55 デュシャン「印象派以降、つまりモダン・アートという言葉の登場以降の全てのモダンな芸術作品に共通する質というものは、私が「網膜的」と呼ぶところの共通の唯美主義に基いている、と考えています。網膜的[という言葉]で私が意味しているのは、網膜を目指し、そこで停止する絵画のことです。（…）また、私がこの言葉で意味しているのは、網膜を超えて先へ進むことのない美的な感情のことです。そしてこれこそ「モダン・アート」の作品、全てに共通する特徴的な質のひとつである、と私は感じています」