We went to MoMA on a historic subway from the 1950s.
Fun to go to MoMA & see a few rooms full of Club 57 memorabilia: films, posters, photos, TV clips. I didn't go there a lot—it was more for artists & performers but we would go once in a while & I read there once or twice when they deigned to let the poets break in.
Then upstairs to look at Max Ernst & realize he was doing all the same stuff, by himself, 50 years earlier, & with training & talent.
I was a brat myself, then.
Like the señoritos I know in Madrid, most surrealists came from good families; as in my case, they wer bourgeois revolting against the bourgeoisie. But we all felt a certain destructive impulse, a feeling that for me has been even stronger than the creative urge. The idea of burning down a museum, for instance, has always seemed more enticing that the opening of a cultural center or the inauguration of a new hospital. —Luis Buñuel, from My Last Breath.
Then upstairs to look at Max Ernst & realize he was doing all the same stuff, by himself, 50 years earlier, & with training & talent.
I was a brat myself, then.
Like the señoritos I know in Madrid, most surrealists came from good families; as in my case, they wer bourgeois revolting against the bourgeoisie. But we all felt a certain destructive impulse, a feeling that for me has been even stronger than the creative urge. The idea of burning down a museum, for instance, has always seemed more enticing that the opening of a cultural center or the inauguration of a new hospital. —Luis Buñuel, from My Last Breath.