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.
Commercial theater, in its agenda to appeal to everybody, is often at the expense of the unique vision of the artist.
I keep reminding people that an editorial in rhyme is not a song. A good song makes you laugh, it makes you cry, it makes you think.
Many claim I am a photographer of tragedy. In the greater sense I am not, for though I often photograph where the tragic emotion is present, the result is almost invariably affirmative.
I'd like to see people pay attention to the science of hip hop. The knowledge part, the political side of what hip hop could do, or where hip hop is gonna go. I always say it's gonna become universal as we become a galactic union.
There is something that always will be true about painting and sculpture - that in order to really get it, you have to show up. That is something that is both sad and kind of beautiful about it. It remains analog. It remains special and irreducible.
Good directors don't answer questions with their work. They generate debate and create discussion.
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