'It's a century since Marcel Duchamp submitted his artwork called Fountain to an exhibition staged by the Society of Independent Artists in New York. Fountain was a urinal -- not a painting of a urinal or a sculpture, just a urinal, bought from a Manhattan hardware store and signed R.Mutt.
|(c) Succession Marcel Duchamp/ADAGP, Paris and DACS, London 2017 / Photo (c) Tate|
The Society of Independent Artists rejected Duchamp's provocation and the original object was lost. Nowadays Duchamp's urinal is canonised as the fountainhead of conceptual art and the high water (closet) mark of the avant garde. Replicas of the Fountain grace museums around the world - emblems of the avant-garde spirit of experimentation and confrontation. Somewhere in the intervening years though, something changed - contemporary art lost its ability to shock and critique. We're still hopelessly drawn to the idea of art that's 'cutting edge', 'ground-breaking', 'revolutionary'. But is that possible at this point -- haven't we seen it all before?
Maybe the death knell was sounded when the Saatchi Gallery opened on the South Bank? Or with the advent of protest and radical chic in the 1960s? Maybe it was when the CIA funded the abstract expressionists? Or when the post-war art market began to reign supreme? Or when the Museum of Modern Art opened its doors in 1927? Or maybe it was all a matter of style the very moment Duchamp's Fountain was conceived?'
Perry questions whether the avant garde over emphasises the importance of the individual at the expense of valuing the collective.
Can people be accidentally avant garde? One tends to think that people have somehow made a set of conscious decisions to 'break the mould' and do something groundbreaking, but quite often they have simply done something that they find interesting and have not considered the notion of the avant garde.
This episode features Brian Eno, Kenneth Goldsmith, Nnenna Okore, Cornelia Parker, and Sarah Thornton.
Producer: Martin Williams.