A Quote by Virgil Abloh
In my case, everything starts from Marcel Duchamp and the new expressive possibilities he gave us with his ready-mades. I transferred his artistic language into today's world, choosing, for example, to use pedestrian-crossing stripes as a symbol.
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Marcel Duchamp, one of this century's pioneers, moved his work through the retinal boundaries which had been established with Impressionism into a 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... 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."
By listening to his language of his locality the poet begins to learn his craft. It is his function to lift, by use of imagination and the language he hears, the material conditions and appearances of his environment to the sphere of the intelligence where they will have new currency.
We need to give Christ a chance to make use of us, to be His word and His work, to share His food and His clothing in the world today. If we do not radiate the light of Christ around us, the sense of the darkness that prevails in the world will increase.
The artist constructs a new symbol with his brush. This symbol is not a recognizable form of anything which is already finished, already made, already existing in the world - it is a symbol of a new world, which is being built upon and which exists by way of people.
The second time I was there I met Marcel Duchamp, and we immediately fell for each other. Which doesn't mean a thing because I think anybody who met Marcel fell for him.
Found objects, chance creations, ready-mades (mass-produced items promoted into art objects, such as Duchamp's "Fountain"-urinal as sculpture) abolish the separation between art and life. The commonplace is miraculous if rightly seen.
I didn't really know what I was looking at when I first came across Man Ray's 'Dust Breeding,' his photograph of a work by Marcel Duchamp called 'Large Glass.' It looked like an aerial photograph or a view through a microscope.
Tobias Buckell combines old world with new in his novel CRYSTAL RAIN. While the rich cultures, drawn in part from Caribbean history and lore, echo a familiar landscape, he brings it out of the Earth milieu and into a bold new universe where technology and tradition collide. I enjoyed his colorful characters and musical use of language; his voice is fresh and entirely readable.
There's never been a culture without poetry in the history of the world. In every culture, in every language there is expressive play, expressive word play, there's language use to different purposes that we would call poetry.
Such was the will of the Father that his Son, blessed and glorious, whom he gave to us, and who was born for us, should by his own blood, sacrifice, and oblation, offer himself on the altar of the cross, not for himself, by whom "all things were made," but for our sins, leaving us an example that we should follow his steps.
I miss him still today: his long, whiskery eyebrows, his huge hands and hugs, his warmth, his prayers, his stories, but above all his shining example of how to live and how to die.
I had thrown my body in for art... I had thrown myself into this game for art. You know, I was not a very good artist. But this was, like, one thing I could do. (On being photographed nude playing chess with Marcel Duchamp at Duchamp's 1963 retrospective at the Pasadena Museum of Art.)
In his eyes I saw all the other possibilities. The dream-world possibilities. The fairytale possibilities. The seemingly impossible possibilities.
Bentham spent much of his life writing constitutions and proposing legal reform in the light of his utilitarianism. The evaluation of particular acts was hardly his concern. The psychology of his day was hedonistic and he worked in that framework and passed it on to Mill, but it is clear as day that Mill was not a hedonist in the sense in which we use that term today, though he used the language of pleasure and pain to express his views.
In every culture, in every language, there is expressive play, expressive word play; there's language use to different purposes that we would call poetry.
Since the tubes of paint used by the artist are manufactured and ready-made products, we must conclude that all the paintings in the world are 'ready-mades aided' and also works of assemblage.
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