An abstract painting need in 50 years by no means look "abstract" any longer.
Marcel DuchampRead
In France, in Europe, the young artists of any generation always act as grandsons of some great man - Poussin, for example, or Victor Hugo. They can't help it. Even if they don't believe in that, it gets in their system. And so when they come to produce something of their own, the tradition is nearly indestructible.
Interpretation
Young artists are heavily influenced by the great artists before them, making tradition an unavoidable part of their work.
Marcel Duchamp highlights the idea that emerging artists are inherently shaped by the legacies of their predecessors. Despite their personal beliefs or desires to rebel against tradition, the influence of previous masters like Poussin and Victor Hugo is deeply ingrained in their creative process, thereby creating a continuum of artistic expression that is difficult to break away from.
In practice
During a gallery talk, a curator might use this quote to discuss the importance of artistic lineage.
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.
It is true that all men are created in the image of God, but Christians are supposed to be conscious of that fact, and being conscious of it should recognize the importance of living artistically, aesthetically, and creatively, as creative creatures of the Creator. If we have been created in the image of an Artist, then we should look for expressions of artistry, and be sensitive to beauty, responsive to what has been created for us
The artist invites the spectator to take a journey within the realm of the canvas... Without taking the journey, the spectator has really missed the essential experience of the picture.
It’s such a fun job, and it can be silly and light and about making people laugh. I think I was doing it a disservice by thinking it’s not something ultimately important. I always was saying, ‘I’m not saving lives; I’m not a brain surgeon.’ And that’s true—I’m not saving anyone from any life-threatening illnesses. But I get to tell stories, and that’s a pretty important task.
Theatre is fake... The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real.
When you're a kid and you're trying to find your own voice, it's rather daunting to hear somebody like Howlin' Wolf, because you know that you'll never achieve that.
The voice is raised, and that is where poetry begins. And even today, in the prolonged aftermath of modernism, in places where "open form" or free verse is the orthodoxy, you will find a memory of that raising of the voice in the term "heightened speech".
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