Marcel Broodthaers
Portrait de Maria Gilissen avec Statif, 1967
"In 1963 Broodthaers is ready to make the transition from poet/photographer to visual artist, clearing the way for the object to take its place next to photography and in part replace it. In the creation of both ready-mades and photo’s, the artist depends on existing objects. Broodthaers emphasizes this link between ready-made and photography in Portrait de Maria avec Statif , 1967. In it he combines a mirrored and enlarged photo, printed on canvas, of Maria Gilissen with a camera, with a real tripod. Although Broodthaers was interested in subjective photography, which attempts to reign in the dominance of the object while increasing the input of the artist, his objects did not possess the ‘indifference’ which Duchamp claimed to aim for – yet they also weren’t the autonomous creations of an artist genius. They were the result of a clash between the artist and the existing world of objects, codes and institutions."
Sven Lütticken, In: De Witte Raaf, Marcel Broodthaers, Editie 107, January-February 2004