An abstract painting need in 50 years by no means look "abstract" any longer.
Marcel DuchampRead
I was never interested in looking at myself in an aesthetic mirror. My intention was always to get away from myself, though I knew perfectly well that I was using myself. Call it a little game between 'I' and 'me.'
Interpretation
Duchamp reflects on the complexity of self-identity and the playful nature of self-examination.
In this quote, Marcel Duchamp expresses his disinterest in superficial self-reflection, preferring instead a deeper exploration of identity through artistic practice. He recognizes the delicate interplay between his true self and the persona he presents, suggesting that this dynamic tension is akin to a game of introspection that goes beyond mere aesthetics.
In practice
In a lecture on modern art, one might use this quote to illustrate the concept of self-exploration in artistic expression.
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.
People on the outside think there's something magical about writing, that you go up in the attic at midnight and cast the bones and come down in the morning with a story, but it isn't like that. You sit in back of the typewriter and you work, and that's all there is to it.
A friend of my mother's, Irene Lopez, was a Spanish dancer. She saw me bopping around the room and said to my mother, 'Rosita might have talent. Can I take her to my dance teacher?' There was no thought of a career at that time, but I knew I loved the attention, and that's so much a part of being a performer.
When one starts writing a book, especially a novel, even the humblest person in the world hopes to become Homer.
I think it's important to leave spaces in a story for readers to fill in from their own experience.
In this age of consumerism film criticism all over the world - in America first but also in Europe - has become something that caters for the movie industry instead of being a counterbalance.
It was in the 1920s, when nobody had time to reflect, that I saw a still-life painting with a flower that was perfectly exquisite, but so small you really could not appreciate it.
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