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All in all, the creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.
I like living, breathing, better than working. I don't think that the work I've done can have any social importance whatsoever in the future. Therefore, if you wish, my art would be that of living: each second, each breath is a work which is inscribed nowhere, which is neither visual nor cerebral. It's a sort of constant euphoria.
In 1913 I had the happy idea to fasten a bicycle wheel to a kitchen stool and watch it turn.
A point which I want very much to establish is that the choice of these “readymades” was never dictated by esthetic delectation. This choice was based on a reaction of visual indifference with at the same time a total absence of good or bad taste … in fact a complete anesthesia.
In the last analysis, the artist may shout from all the rooftops that he is a genius; he will have to wait for the verdict of the spectator in order that his declarations take a social value and that, finally, posterity includes him in the primers of Art History.
The Friday Letter
One story from the atlas, every Friday.
No algorithms chasing attention. A work, a place, and the connection between them — with the history checked.
