A Quote by Sol LeWitt

The thinking of John Cage derived from Duchamp and Dada. I was not interested in that. — © Sol LeWitt
The thinking of John Cage derived from Duchamp and Dada. I was not interested in that.
Dada Dada Dada, a roaring of tense colors, and interlacing of opposites and of all contradictions, grotesques, inconsistencies: LIFE.
My daughter's first sentence was, 'Dada no hair.' And I was, like, 'No Jasmine, Dada does have hair, Dada just shaves his head.'
Dada is not modern at all, it is rather a return to a quasi-Buddhist religion of indifference. Dada puts an artificial sweetness onto things, a snow of butterflies coming out of a conjurer's skull. Dada is stillness and does not understand the passions.
I'm especially interested in the music of John Cage... I would like to do some experimenting with the relationship between his freeform sound and free-form art.
To make a poem, take one newspaper, one pair of scissors, snip the words one by one and put them in a bag. Shake gently, draw them out at random, and copy them conscientiously... DADA est mort. DADA est idiot. Vive DADA!
Two main groups like to drop the readymade bomb—galleries and art historians. Galleries love to drop the Duchamp brand because dealers can try to convince clients of an artist’s worth just by mentioning the mouthwatering response readymade. Most Art Historians aren’t interested in what artists are making in Bushwick studios, most of whom rarely wake up with Duchamp on the brain.
Invest your money in Dada! Dada is the only savings bank that pays interest in the hereafter!
I recall improvisational drummer and composer Michael Evans telling me a story of someone who had the opportunity to meet Cage and give him a record, and John Cage just smiled and said, "You know I have nothing to play this on?"
Dada is the sun, Dada is the egg. Dada is the Police of the Police.
There is always a fear that i’ll be in Europe somewhere, and this little blue-eyed kid would come over to me with his mom and go, “dada, dada”.
When I read John Cage's book Silence, I was growing up in Louisville, Kentucky. For me, records were a mode of time travel and geographic travel, interfacing with a much larger world. So it seemed antiquated and backwards that Cage would be so down on them.
I don't think it had a name when we started. If punk has any roots, Dada is part of it. And we saw ourselves as part of a kind of Dada tradition.
Varese, Apollinaire, Ezra Pound, Leger, Gleizes, Severini, Villon, Duchamp, Duchamp-Villon, Marie Laurencin, Cocteau and many others were to me household names in the literal sense - names of familiar figures around the house.
The activities of these parasites and degenerates gave rise to Cubism, Fauvism, Futurism, Pointillism, Constructivism, Orphism, Surrealism, Dada, and also Impossibleism, Supersurrealism, Dynamic Double-Dog Realism, Ishkabibbleism, and Mama, which is like Dada only nicer.
At MGM there was a script cage in the basement where they’d show rushes. And I thought to myself, “How do I get into the script cage and find out what my future is?” I climbed into the script cage one night and spent the whole night in there. I saw the bowels of MGM. I saw the studio scripts that the producers had seen; the writers had just handed them in. And I started thinking this is a chance to pick my own roles.
Imagine a dense forest full of tigers and you in a strong steel cage. Knowing that you are well protected by the cage, you watch the tigers fearlessly. Next, you find the tigers in the cage and yourself roaming about in the jungle. Last, the cage disappears and you ride the tigers!
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