A Quote by Marcel Duchamp
In the 'Nude Descending a Staircase,' I wanted to create a static image of movement: movement is an abstraction, a deduction articulated within the painting, without our knowing if a real person is or isn't descending an equally real staircase.
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There was an incident, in 1912, which 'gave me a turn,' so to speak: when I brought the 'Nude Descending a Staircase' to the Independants, and they asked me to withdraw it before the opening.
To me, a staircase looks like a series of dark and light horizontal stripes, which is exactly how you'd draw a staircase. So I know how the image is going to look on the page.
Writing a check is easy. The opportunity for real change happens when there's a person who comes to you with real passion to create a movement.
In less than a century we experienced great movement. The youth movement! The labor movement! The civil rights movement! The peace movement! The solidarity movement! The women's movement! The disability movement! The disarmament movement! The gay rights movement! The environmental movement! Movement! Transformation! Is there any reason to believe we are done?
It's like climbing a staircase. I'm on the top of the staircase, I look behind me and I see the steps. That's where I was.
Part of the problem is we had so far to go, given the deep homophobia in our society. But, the movement is very real. The movement is very real.
Christianity is no mere scheme of doctrine or of ethical practice, but is instead a kind of miracle, a power out of nature and above, descending into it; a historically supernatural movement on the world, that is visibly entered into it, and organized to be an institution in the person of Jesus Christ.
William Carlos Williams, late in his long life, had a dream: He saw an enormous spiral staircase in empty space, and his father slowly descending toward him. When he reached the bottom, his father walked over, looked him in the eye and said: “You know those poems you're writing? They're no good.”
I wanted to live in the suburbs and have a white picket fence and my own bedroom. And a staircase - I thought having a staircase meant that you were a normal family. I thought somehow if you could transplant us to the suburbs, we would become a normal family. But in retrospect, I'm so grateful I grew up in the Chelsea.
Futurists wanted to suggest movement by means of a dynamic painting; Duchamp applies the notion of delay - or, rather, or analysis - to movement.
My life is very exciting now. Nostalgia for what? It's like climbing a staircase. I'm on the top of the staircase, I look behind and see the steps. That's where I was. We're here right now. Tomorrow, we'll be someplace else. So why nostalgia?
Play is always a fantasy, but once you get into the frame, it is quite real, and everything you do is real. You put acres and acres of real movement and real action and real belief in it.
I just - I kind of see it that way. I find the higher angles down. I do - look, you can go back to the staircase shots in "Third Man" or the staircase in "La Dolce Vita." So I just find that visual construction in a frame.
You have to record as many details as possible and achieve an order, without taking away the complexity of the real. To voice the real and at the same time to create an image that is a world in itself, with its own coherence, its autonomy and sovereignty; an image that thinks
I really wanted to be a part of that movement or better yet create that movement.
To express dynamic motion through a static moment became for me limited and unsatisfactory. The basic idea was to liberate myself from this old concept and arrive at an image in which the spectator could feel the beauty of a fourth dimension, which lies much more between moments than within a moment. In music one remembers never one tone, but a melody, a theme, a movement. In dance, never a moment, but again the beauty of a movement in time and space.
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