The One-Man Show and the Dealer (original) (raw)

2017

Abstract

The “consecration” of the artist takes place through his inclusion in an art historical tradition. This is only possible, however, when “the one-man show” causes an artificial construction to appear as historical fact. Through the effects of the museum apparatus, the artist’s complete oeuvre is misperceived as an embodiment of the very principles according to which it had been judged. This inversion aligns the work in linear chronological terms, thus allowing it be fitted into a narrative of influence and causality. Duchamp’s crucial point is that the one-man show is supported by the actions of “the dealer” in securing a work’s commercial value. By asking Arturo Schwarz to produce replicas of Fountain, Duchamp exposed this crucial operation that proceeded his art historical recognition.

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