An abstract painting need in 50 years by no means look "abstract" any longer.
Marcel DuchampRead
The great problem was the selection of the readymade. I needed to choose an object without it impressing me: that is to say, without it providing any sort of aesthetic delectation. Moreover, I needed to reduce my own personal taste to absolute zero.
Interpretation
The quote emphasizes the challenge of choosing art that doesn't evoke personal taste or emotion.
Marcel Duchamp discusses the difficulties of selecting objects in the art world, specifically focusing on the need to detach personal emotions and aesthetic judgments from the selection process. By striving for a state of 'absolute zero' in personal taste, he highlights the complexities involved in objectivity in art and the concept of 'readymade' art, which challenges traditional notions of aesthetics.
In practice
In an art discussion group, sharing this quote can prompt a conversation on the nature of artistic value.
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.
When artists make art, they shouldn't question whether it is permissible to do one thing or another.
Compare the silent rose of the sun And rain, the blood-rose living in its smell, With this paper, this dust. That states the point.
I will not leave a corner of my consciousness covered up, but saturate myself with the strange and extraordinary new conditions of this life, and it will all refine itself into poetry later on.
Language leads a double life - and so does the novelist. You chat with family and friends, you attend to your correspondence, you consult menus and shopping lists, you observe road signs, and so on. Then you enter your study, where language exists in quite another form - as the stuff of patterned artifice.
A world turned into a stereotype, a society converted into a regiment, a life translated into a routine, make it difficult for either art or artists to survive. Crush individuality in society and you crush art as well. Nourish the conditions of a free life and you nourish the arts, too.
The worst tragedy for a poet is to be admired through being misunderstood.
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