An abstract painting need in 50 years by no means look "abstract" any longer.
Marcel DuchampRead
The basis for my own work during the years just before coming to America in 1915 was a desire to break up forms - to 'decompose' them much along the lines the cubists had done. But I wanted to go further - much further - in fact, in quite another direction altogether.
Interpretation
Duchamp's quote expresses his intention to innovate and go beyond the existing artistic frameworks he encountered before moving to America.
In this quote, Marcel Duchamp reflects on his artistic evolution and the influence of Cubism on his work prior to his arrival in America. He emphasizes a desire not just to deconstruct existing forms, but to pursue new directions in art that break conventional boundaries, highlighting the transformative power of innovation in creative pursuits.
In practice
In an art critique discussing the evolution of modern art, this quote illustrates Duchamp's impact on contemporary practices.
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.
Hope I die before I turn into Pete Townshend. It would look ridiculous to do what we're doing now when I'm 40. That's why I want to destroy my career before it's too late.
I believe art is utterly important. It is one of the things that could save us.
All my life I’ve pursued the perfect red. I can never get painters to mix it for me. It’s exactly as if I’d said, ‘I want rococo with a spot of Gothic in it and a bit of Buddhist temple’—they have no idea what I’m talking about. About the best red is to copy the color of a child’s cap in any Renaissance portrait.
I don't know what gives me more pleasure: watching my story unfold or going in and watching a room full of black people talking for me and writing words for black people.
I never intended for the Monster Ball to be a religious experience, it just became one.
I've always felt like I was an actor for hire. And almost apologetic for being a woman of color, trying to stifle that voice. But I don't feel that way in Shondaland. I feel like I am accepted into a world where I'm a part of the narrative - I'm a part of it.
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