An abstract painting need in 50 years by no means look "abstract" any longer.
Marcel DuchampRead
One does not contemplate it like a picture. The idea of contemplation disappears completely. Simply take note that it's a bottle rack, or that it's a bottle rack that has changed its destination... It's not the visual question of the readymade that counts; it's the fact that it exists, even.
Interpretation
The quote emphasizes the significance of existence over mere appearance in art.
In this quote, Marcel Duchamp highlights the idea that the essence of a piece of art lies not in what it visually represents but in its mere existence and the concept it embodies. The focus shifts from passive observation to an active acknowledgment of the object's place in a different context, challenging traditional perceptions of art and encouraging viewers to engage with the meaning beyond the surface.
In practice
During an art lecture, I could use this quote to illustrate Duchamp's philosophy on the nature of 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.
Poetry is prose bewitched, a music made of visual thoughts, the sound of an idea.
I don't make judgments about my own work, and I don't analyze it; I just let it happen. That applies to everything I've done.
Visual art and writing don't exist on an aesthetic hierarchy that positions one above the other, because each is capable of things the other can't do at all. Sometimes one picture is equal to 30 pages of discourse, just as there are things images are completely incapable of communicating.
All the same it is being said everywhere that I played too softly, or rather, too delicately for people used to the piano-pounding of the artists here.
You discover how confounding the world is when you try to draw it. You look at a car, and you try to see its car-ness, and you’re like an immigrant to your own world. You don’t have to travel to encounter weirdness. You wake up to it.
The reason one writes isn't the fact he wants to say something. He writes because he has something to say.
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