An abstract painting need in 50 years by no means look "abstract" any longer.
Marcel DuchampRead
The basis for my own work during the years just before coming to America in 1915 was a desire to break up forms - to 'decompose' them much along the lines the cubists had done. But I wanted to go further - much further - in fact, in quite another direction altogether.
Interpretation
Duchamp's quote expresses his intention to innovate and go beyond the existing artistic frameworks he encountered before moving to America.
In this quote, Marcel Duchamp reflects on his artistic evolution and the influence of Cubism on his work prior to his arrival in America. He emphasizes a desire not just to deconstruct existing forms, but to pursue new directions in art that break conventional boundaries, highlighting the transformative power of innovation in creative pursuits.
In practice
In an art critique discussing the evolution of modern art, this quote illustrates Duchamp's impact on contemporary practices.
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.
There are those photographers who have made a whole career doing commercial work but have never had a museum show, and then there are others who've only had museum shows but couldn't survive for five seconds in the real world of photography. But I've done absolutely everything.
I try to make clothes the way Lou Reed does music, with minimal chord changes. It's about giving everything I make a worn, softened feel. It's about an elegance being tinged with the barbaric, the luxury of not caring.
I am always worried that over-planning and outlining will kill the magic of writing; most of the world I created in 'California' occurred via good old sexy sentence-making.
I'd say almost that words come first, melody second.
Try to distill the character of your subject. Understand how he moves, thinks, acts. It's difficult to put into words. Consider each drawing as a problem that did not exist before, and then try to solve that problem to the best of your ability. That i what caricature is all about
I think that at a certain age, say fifteen or sixteen, poetry is like masturbation. But later in life good poets burn their early poetry, and bad poets publish it. Thankfully I gave up rather quickly.
Subscribe for the occasional hand-picked quote. No noise.