The somersault of society dates from the day that a small Spaniard, P.O. Casse (cf. French breakage) so inevitably exhibited the portrait of a wine glass, « looking both ways at once ».
Every new object to which he applied his disruptive aesthetic has had an extra crack knocked into it by his rabid opposers, i.e. disciples.
For although modern warfare is not responsible for our revaluation of values, modern art which is the actual cause is martialised to the extent that he who steals a stunt from its originator, does so, for the redemption of the aforesaid art.
I have heard that the original wine glass was broken by Braque, i.e. cf. break. Or at least that he broke another on the same day.
However I predict that the breakage of P.O. Casse will be canonised by the dealers — for he has successively broken a greater variety of objects, and with more rapidity than his most ardent opponents (i.e. disciples) could keep up with.
Example.
P.O. Casse broke a guitar — which prophetic pattern induced an aesthetic intimation comparable to what in other areas, the French call frisson.
This disjuncted guitar has in every « avant guard » every year, in every land re-re-re-represented the imminent intellectual revolt for one quarter of a century.
The same guitar — often seen believe me — broken at the same place — yet bearing a variety of signatures.
No head or tail of reason for this save that emancipation being contagious, if caught by the noncreative finds only the sexual unconfines in which or wherein to flower —
Magazine slogan —
Art is always « new » to the uninitiate —
Mina Loy