”Marcel Duchamp, one of this century’s pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. ’You don’t mean to do it,’ he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage’a Hilarious Picture.’ Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. ’In the end you lose interest, so I didn’t feel the necessity to finish it.’He declared that he wanted to kill art (’for myself’) but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, ’a new thought for that object.’The art community feels Duchamp’s presence and his absence. He has changed the condition of being here.”-- Jasper Johns, from Marcel Duchamp: An Appreciation
具體描述
讀後感
評分
評分
評分
評分
用戶評價
本科學藝術史的時候第一次看到杜尚的噴泉，讀到“Mutt先生是否親手製作噴泉並不重要，重要的是他選擇瞭它。他拿瞭一件普通的物品，在新的視角和名字下，世俗的作用消失瞭，新的思想被創造齣來”的時候，我關於藝術的粗糙認知完全被顛覆瞭。訪談錄很深入，值得多次細讀並對照作品思考。
评分生活纔是藝術。
评分生活纔是藝術。
评分杜尚好可愛www
评分在藝術這樁生意中，藝術傢本人是最不重要的。杜尚深切瞭解這一點，因此他把藝術從二維拖拽成三維，而把自己從立體活成透明平麵。所以這書沒什麼可看的，不如多去看幾張畫。
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