You [ Katherine Sophie Dreier; director of the Art Center in New York City; she co-founded with Duchamp and Man Ray the 'Sociéte Anonyme' in Manhattan in 1920] must understand:
My attitude toward the book is based upon my attitude towards 'Art' since 1918 – so I am furious myself that you will accept only partly that attitude [in a new publication by Katherine Dreier]. It can be no more question of my life as an artist's life: [because] I gave it up ten years ago; this period is long enough to prove that my intention to remain outside of any art manifestation is permanent... The third question is that I want to be alone as much as possible.
This abrupt way to speak of my 'hardening process' is not meant to be mean, but is the result of '42 years of age'....10 000 apologies for this rough letter and affectueusement
Dee. (Marcel Duchamp)

You [ Katherine Sophie Dreier; director of the Art Center in New York City; she co-founded with Duchamp and Man Ray the 'Sociéte Anonyme' in Manhattan in 1920] must understand: My attitude toward the book is based upon my attitude towards 'Art' since 1918 – so I am furious myself that you will accept only partly that attitude [in a new publication by Katherine Dreier]. It can be no more question of my life as an artist's life: [because] I gave it up ten years ago; this period is long enough to prove that my intention to remain outside of any art manifestation is permanent... The third question is that I want to be alone as much as possible. This abrupt way to speak of my 'hardening process' is not meant to be mean, but is the result of '42 years of age'....10 000 apologies for this rough letter and affectueusement Dee.

Marcel Duchamp

Related topics

age apologies art book city director enough hardening letter man manifestation mean outside possible prove publication question ray remain result speak ten third way years manhattan Duchamp sophie

Related quotes

Received your letter and, almost at the same time, the long text at which I was overjoyed. You no doubt know that you are the only person in the world to have put together the gestation of the glass [ The Large Glass, circa 1923] in all its detail, including even the numerous intentions which were never executed [by Duchamp]. Your patient work has enabled me to relive a period of long years during which the notes were written for the 'Green Box' [the second of the three Boxes Duchamp created and this one was full of written notes] at the same time as the Glass [= The Large Glass] was taking shape. And I confess to you that, not having read these notes for a very long time, I had completely lost all recollection of numerous points not illustrated on the glass and which are a delight to me now.

Marcel Duchamp

Darrall Imhoff, who as a 6-foot-10 rookie center for the New York Knicks had the misfortune of guarding Chamberlain during his 100-point game in 1962, said, "I spent 12 years in his armpits, and I always carried that 100-point game on my shoulders. "After I got my third foul, I said to one of the officials, Willy Smith, 'Why don't you just give him 100 points and we'll all go home?' Well, we did." Two nights later, at Madison Square Garden, Chamberlain tried to go for the century mark again. But Imhoff 'held' him to 54 points. The fans gave Imhoff a standing ovation. "He was an amazing, strong man," Imhoff said. "I always said the greatest record he ever held wasn't 100 points, but his 55 rebounds against Bill Russell. Those two players changed the whole game of basketball. The game just took an entire step up to the next level."

Wilt Chamberlain

Decision Points is based primarily on my recollections. With help from researchers, I have confirmed my account with government documents, contemporaneous notes, personal interviews, news reports, and other sources, some of which remain classified. There were instances in which I had to rely on memory alone. If there are inaccuracies in this book, the responsibility is mine. In the pages that follow, I have done my best to write about the decisions I got right, those I got wrong, and what I would do differently if given the chance. Of course, in the presidency, there are no do-overs. You have to do what you believe is right and accept the consequences. I tried to do that every day of my eight years in office. Serving as president was the honor of a lifetime, and I appreciate your giving me the opportunity to share my story.

George W. Bush

For The United States, the leading space faring nation for nearly half a century, to be without carriage to low Earth orbit and with no human exploration capability to go beyond Earth orbit for an indeterminate time into the future, destines our nation to become one of second or even third rate stature. While the President's plan envisages humans traveling away from Earth and perhaps toward Mars at some time in the future, the lack of developed rockets and spacecraft will assure that ability will not be available for many years. Without the skill and experience that actual spacecraft operation provides, the USA is far too likely to be on a long downhill slide to mediocrity. America must decide if it wishes to remain a leader in space. If it does, we should institute a program which will give us the very best chance of achieving that goal.

Neil Armstrong

Thus we must carefully distinguish between two kinds of reality, one which has an individual character, and one which has a universal appearance... It is, however, wrong to think that the non-figurative artist finds impressions and emotions received from the outside useless, and regards it even as necessary to fight against them... It is equally wrong to think that the non-figurative artist creates through 'the pure intention of his mechanical process', that he makes 'calculated abstractions' and that he wish to 'suppress sentiment not only in himself but in the spectator'... It is thus clear that he has not become a mechanic, but that the progress of science, of technique, of machinery, of life as a whole, has only made him into a living machine, capable of realizing in a pure manner the essence of art.

Piet Mondrian