”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
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读来还蛮讽刺的。杜尚自己拒绝融入任何流派，所做readymade泉从某种程度也是为了被拒绝和挑战协会，然而现在却有一堆堆博士论文分析他的某个作品的某个细节属于某种流派，readymade到底还能不能代表彻底改革的方向。
评分字体比蚂蚁还要小 读了两章 终于吃不消了
评分采访录很短，很喜欢杜尚的脸，准确点是相，言谈有趣
评分采访录很短，很喜欢杜尚的脸，准确点是相，言谈有趣
评分在艺术这桩生意中，艺术家本人是最不重要的。杜尚深切了解这一点，因此他把艺术从二维拖拽成三维，而把自己从立体活成透明平面。所以这书没什么可看的，不如多去看几张画。
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