The Bride Stripped Barr – Paul Minott

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Digitally printed glass, aluminium, nickel bolts, wooden base, rubber, emulsion paint, transfer lettering.

Duchamp was resistant to the ‘isms’ defined by MoMA, and had a dicult relationship with Alfred Barr Jr., its first director.

By superimposing the Large Glass onto Barr’s ‘Cubism and Abstract Art’ diagram of 1936, I was struck by their similarities and coincidences.

The Genuine Bears This Signature (More Sustaining Than Meat). Sequence of seven fake chocolate bars. Painted wood, digital print, adhesive transfers.

Duchamp’s masturbatory ruminations regarding ‘Appearance and Apparition’ from his ‘Green Box’ notes his obsession with chocolate and moulds.

During his lifetime, Duchamp sailed to New York seven times, eventually settling there. I imagine with each arrival, he noticed the slight infra-thin changes to his favourite brand.

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