La Mariée (The bride), 1934

Marcel Duchamp was an avant-garde sculptor whose “readymade” installations pushed the boundaries of traditional aesthetics and challenged ordinary conceptions of the nature of art.

Although he began as a painter, Duchamp came to prioritize concepts and ideas over visualizations. This led him to abandon traditional forms of expression and develop approaches that subordinated the visual to the conceptual.

Indeed, his “readymade” sculptures subverted the ordinary representational nature of art insofar as they did not depict anything; rather, they were, themselves, ordinary objects. This is exemplified in his 1917, “Fountain,” which was a urinal inscribed with the signature “R. Mutt.” Rather than being a representation of a urinal, “Fountain” is simply a urinal.

Duchamp argued that its status as art was a function of the dignity he imparted to the object, not its representational or aesthetic qualities. Because he rejected traditional bourgeois aesthetics, he described his work as “anti-art.” In this regard, Marcel Duchamp influenced the development of Dada.