An abstract painting need in 50 years by no means look "abstract" any longer.
Marcel DuchampRead
'Art or anti-art?' was the question I asked when I returned from Munich in 1912 and decided to abandon pure painting or painting for its own sake. I thought of introducing elements alien to painting as the only way out of a pictorial and chromatic dead end.
Interpretation
Duchamp questioned the value of traditional art versus newer forms, suggesting that innovation was necessary to overcome creative stagnation.
In this quote, Marcel Duchamp reflects on his turning point in artistic direction during a time when he felt restricted by conventional painting. He proposed that introducing non-traditional elements into art could revitalize creativity and lead to new forms of expression, ultimately challenging the very definition of what art can be.
In practice
Discussing the evolution of modern art in a lecture.
An abstract painting need in 50 years by no means look "abstract" any longer.
All this twaddle, the existence of God, atheism, determinism, liberation, societies, death, etc., are pieces of a chess game called language, and they are amusing only if one does not preoccupy oneself with 'winning or losing this game of chess.
I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is much purer than art in its social position.
I never finished the 'Large Glass' because, after working on it for eight years, I probably got interested in something else; also, I was tired. It may be that, subconsciously, I never intended to finish it because the word 'finish' implies an acceptance of traditional methods and all the paraphernalia that accompany them.
It's a product of two poles - there's the pole of the one who makes the work, and the pole of the one who looks at it. I give the latter as much importance as the one who makes it.
I became a librarian at the Sainte-Genevieve Library in Paris. I made this gesture to rid myself of a certain milieu, a certain attitude, to have a clean conscience, but also to make a living. I was twenty-five. I had been told that one must make a living, and I believed it.
I did not go into the film business to be symbolized as someone else's vision of me.
Your voice is not your instrument. Your voice is the character that you build, your innermost feelings, the things that you want to say, and your instrument is the vehicle that you use to carry the message.
I believe in broken, fractured, complicated narratives, but I believe in narratives as a vehicle for truth, not simply as a form of entertainment, though I love entertainment, but also a way of conveying what needs to be conveyed about the works that I care about.
I thought the most beautiful thing in the world must be shadow, the million moving shapes and cul-de-sacs of shadow. There was shadow in bureau drawers and closets and suitcases, and shadow under houses and trees and stones, and shadow at the back of people's eyes and smiles, and shadow, miles and miles and miles of it, on the night side of the earth.
A good director's not sure when he gets on the set what he's going to do.
Acting is not about being someone different. It's finding the similarity in what is apparently different, then finding myself in there.
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