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.
Just because I'm playing jazz I don't forget about me. I play or write me, the way I feel, through jazz, or whatever.
What a great poem teaches you - and it's not intellectual at all - is the resonance in the language that's heard there. This goes back to the very origins of poetry and to the very origins of language.
Poetry is rather an approach to things, to life, than it is typographical production.
Poetry takes courage because you have to face things and you try to articulate how you feel.
On Creating — What we crave, what we want to see in others eyes, is that servile expression, an unconcealed infatuation with our gestures.
Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error. The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.
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