Object to Be Destroyed

Like the stages of grief, a readymade object moved through ideas of destruction over forty years. When Man Ray first affixed the photograph of a women’s eye to a wooden metronome, it was merely to keep him company as he painted. The monotony of the metronome helped him regulate his brushstrokes, and he found he enjoyed the sensation of being watched by this detached voyeur until, in a moment of fury, he destroyed the metronome, birthing the artworks as ‘Object to Be Destroyed’. In the tradition of Marcel Duchamp’s readymades, the work caused a stir on debut and was regarded as a significant work of modern art almost immediately. Some 10 years later, Ray was left by his partner, the photographer Lee Miller, and replaced the anonymous eye on the metronome with a photograph of hers, renaming the work ‘Object of Destruction’ - its context changing from companion to judge, watching over him as a reminder of what he lost. In the 1950s, a group of Parisian student protesters broke into a museum showing the work and took Ray’s title seriously, destroying the original piece. Ray responded by creating 100 new editions, and titling it ‘Indestructible Object’, it’s context moving beyond the physical metronome and photograph and being an idea that can will live forever in the mind.