Marcel Duchamp’s controversial decision to produce an edition of replicas of his best-known readymades in 1964 remains one of the more puzzling and unexpected moves in a career already identified with defiance and provocation. Duchamp’s decision to sell reproductions of the readymades challenged his own customarily anti-commercial approach to art, eliciting unfavorable responses from his contemporaries and followers. In this article I intend to demonstrate that the 1964 edition of the readymades was the culmination of a series of events that motivated Duchamp to more firmly establish himself as the foundation of the Pop art movement. Duchamp’s decision to create an edition of the readymades also came shortly after he first met Andy Warhol in Pasadena in 1963, at which time Duchamp would certainly have been thinking about his legacy and how it would come to measure up against the new generation of appropriation artists. It is also impossible to consider these replicas without taking into account that they were produced during Pop’s meteoric rise. With this study, I hope to emphasize that the reciprocal impact of Pop on Duchamp is just as important in shaping our current understanding of the readymade.

中文翻译：

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在 Brillo Box 之前、之中和之后：流行音乐对 1964 年版杜尚成衣的影响

马塞尔·杜尚 (Marcel Duchamp) 在 1964 年制作他最著名的现成品复制品这一有争议的决定，仍然是他的职业生涯中最令人费解和出乎意料的举动之一，而这一举动已经被认定为蔑视和挑衅。杜尚出售现成品复制品的决定挑战了他自己一贯的反商业艺术方式，引起了同时代人和追随者的不利反应。在这篇文章中，我打算证明 1964 年的现成品是一系列事件的高潮，这些事件促使杜尚更加坚定地确立了自己作为波普艺术运动基础的地位。杜尚于 1963 年在帕萨迪纳与安迪·沃霍尔 (Andy Warhol) 初次会面后不久，便决定制作现成品版本 那时杜尚肯定会考虑他的遗产以及如何与新一代挪用艺术家相抗衡。如果不考虑它们是在流行音乐迅速崛起期间生产的，那么考虑这些复制品也是不可能的。通过这项研究，我希望强调流行音乐对杜尚的相互影响对于塑造我们目前对现成品的理解同样重要。