An abstract painting need in 50 years by no means look "abstract" any longer.
Marcel DuchampRead
The curious thing about the Ready-Made is that I've never been able to arrive at a definition or explanation that fully satisfies me. There's still magic in the idea, so I'd rather keep it that way than try to be exoteric about it.
Interpretation
Duchamp reflects on the elusive nature of art and creativity, embracing mystery over strict definition.
In this quote, Marcel Duchamp expresses his fascination with the concept of Ready-Mades, which are ordinary objects transformed into art through the artist's intent. He acknowledges the difficulty in pinning down a precise definition of what constitutes art, suggesting that the beauty lies in its ambiguity and the magic it holds, rather than in trying to convey its meaning in a straightforward manner.
In practice
In an art lecture discussing the evolution of modern art.
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'd like people to remember me for a diligent expert workman. I think a poet is a workman. I think Shakespeare was a workman. And God's a workman. I don't think there's anything better than a workman.
I am installed in a fairylike place. I do not know where to poke my head; everything is superb, and I would like to do everything, so I use up and squander lots of color, for there are trials to be made.
What I most cherish is the observation of the movement of colors. Only in this have I found the laws of those simultaneous and complementary color contrasts that nourish the actual rhythm of my vision. In this I find the actual essence, an essence which is not born out of an a priori system or theory.
The real test of a musician is live performance. It's one thing to spend a long time learning how to play well in the studio, but to do it in front of people is what keeps me coming back to touring.
I just think music is so intrinsically linked with images in the culture that we live in that you'll be hard-pressed to have an experience with the music without a preconceived notion.
It is almost impossible to reconcile self expression with the creative act.
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