An abstract painting need in 50 years by no means look "abstract" any longer.
Marcel DuchampRead
Why are all the artists so dead-set on distorting? It seems to be a reaction against photography, but I'm not sure.
Interpretation
Artists often distort reality as a response to the precision of photography.
Marcel Duchamp's quote reflects on the tension between traditional artistic practices and the advent of photography. He suggests that artists might feel compelled to distort reality in their work as a means of establishing their unique expression and responding to the challenge that photography imposes on representation. This indication of distortion serves as a creative rebellion against the lifelike accuracy that photography can provide, thus prompting artists to explore deeper philosophical and subjective interpretations of art.
In practice
In a discussion about modern art and its evolution.
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.
In the big picture I write for an audience of people I've never met. By the final draft I'm looking for anything in the prose that's prospectively boring to strangers.
One difference between poetry and lyrics is that lyrics sort of fade into the background. They fade on the page and live on the stage when set to music.
The beauty and genius of a work of art may be reconceived, though its first material expression be destroyed; a vanished harmony may yet again inspire the composer; but when the last individual of a race of living things breathes no more, another heaven and another earth must pass before such a one can be again.
What I wanted in life always was to write something as good as 'Pinocchio.' I wanted to write. I wanted to evolve. I wanted to grow.
But in many orders of beauty, particularly those of the finer arts, it is requisite to employ much reasoning, in order to feel the proper sentiment; and a false relish may frequently be corrected by argument and reflection. There are just grounds to conclude, that moral beauty partakes of this latter species, and demands the assistance of our intellectual faculties, in order to give it a suitable influence on the human mind.
Imagination is the key to my lyrics. The rest is painted with a little science fiction.
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