“In discussing his work [the art of Marcel Duchamp, ] it is necessary to avoid overrating his silence. I hold him in a very high esteem, but I have to reject his silence. Duchamp was simply finished. He had run out of ideas; he was unable to come up with anything important… I would say that even the bourgeois tendencies in Duchamp's work – i. e., a form of provocative, bohemian behavior intended to 'épater le bourgeois'- follow the same path. Duchamp started out from here and wanted to shock the bourgeoisie, and because of that he destroyed his creative powers… The content of Duchamp's silence refers to the aim of leaving the subconscious passive, of developing it. This is the aspect of Duchamp, which is related to Surrealism. The surrealists asserted that they could live with their subconscious; they thought they were above reality, but instead they were beneath it. They thought they could fish in muddy waters…. but to my mind, the images which emerged have a repressive effect.”

— Joseph Beuys

Quote in an interview with , 1986; republished in: Joseph Beuys, Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993.pp. 169-170
Beuys refers in his quote to the so-called 'Silence of Marcel Duchamp', the period that Duchamp stopped creating art
1980's

Adopted from Wikiquote. Last update June 3, 2021. History

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Joseph Beuys50

German visual artist 1921–1986

Jasper Johns (1930) American artist

Daily Close-up, after the Flag, Roberta Brandes Gratz, New York Post, 30 December 1970, p. 25
1970s

“The Duchamp thing is played both ways. The 'Urinal' [famous 'ready-made' of Marcel Duchamp ] signed R. Mutt, is played as an art object, and then as the opposite of a legitimate art object. And it vacillates back and forth. Well perhaps that is a nice thing, but I don't know. I find Duchampianism a bore. It's very adolescent. I was very much excited by it when I was a teenager... My tradition is quite different. My conscious tradition is through Constantin Brâncuși, and Brancusi just strikes me as an infinitely wiser and infinitely more talented, an infinitely stronger figure than Duchamp. I think I could have done my work if Duchamp had not lived. I could not have done my work if Brancusi had not lived.”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, pp. 15-16

“Marcel Duchamp's 'Nude descending the stairs' is the result of the desire for motion. Here he has also eliminated representative form. This avoids the connotation of ideas which would interfere with the success of the main issue - the sense of movement.”

Alexander Calder (1898–1976) American artist

1930s - 1950s, Statement from Modern Painting and Sculpture', (1933)
Source: en.wikiquote.org - Alexander Calder / Quotes of Alexander Calder / 1930s - 1950s / Statement from Modern Painting and Sculpture', (1933)

“Duchamp realized that there was something false in art, but his limitation was that, rather than demystifying, he amplified it. By taking a manufactured object and placing it out of context, he quite simply symbolized art. His actions tended to “represent” and not “present” the object. Duchamp, like all artists, could not “present” anything at all without “re-presenting” it. And if he symbolized art in this way, it was because as soon as he exhibited a bottle rack, a shovel, or a urinal, he was really stating that anything was art as soon as you pointed at it. By extension, and this is very important, that means that a cow in a field becomes art in a painting, a tree by Courbet becomes art, and a woman by Rubens becomes art; now this cow, this tree, and this woman exist in another way. Duchamp dismantled this process supposedly to take away its sanctity, but he went about it in such a way that by being against art, he was in art. Let’s clarify an important point right away: Duchamp is not anti-art. He belongs to art. The art of extolling the consumer society.”

Daniel Buren (1938) sculptor from France

Source: Art is no longer justifiable or setting the record straight, 2000, p. 66

“In one work Marcel Duchamp meets Tracey Emin in the desert, with three camp cowboys. In another he meets Elvis and the Spice Girls.”

Peter Blake (1932) British artist

Charlotte Higgins, "It was 37 years ago today &ndash; and Sgt Pepper cover has still failed to pay", http://www.guardian.co.uk/thebeatles/story/0,,1230411,00.html The Guardian, 2004-06-03 <br class="br">On his painting, Marcel Duchamp's World Tour. <br class="br">Art

“He [ Marcel Duchamp ] entered this object [the 'Urinal' ready-made] into the museum and noticed that its transportation from one place to another made it into art. But he failed to draw the clear and simple conclusion that every man is an artist.”

Joseph Beuys (1921–1986) German visual artist

as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, by Victoria Walters, LIT Verlag Münster, 2012, p. 206
Quotes after 1984, posthumous published

“What fascinates me about Duchamp is the idea of tearing down the wall between the art object and reality.”

Anselm Kiefer (1945) German painter and sculptor

Source: "Anselm Kiefer and the Philosophy of Martin Heidegger" Matthew Biro, Cambridge University Press 1998, p. 304

“.. one must agree with Rilke when he says that with 'nothing can one touch a work of art so little as with critical words..'. It was Marcel Duchamps who was critical, when he drew a moustache on the 'Mona Lisa'. And so was Mondrian when he dreamed of the dissolution of painting, sculpture, and architecture into a transcendent ensemble.”

Mark Rothko (1903–1970) American painter

Source: 1940's, Beyond the Aesthetics (1946), pp. 39-40

“Somebody in Germany [the German artist Joseph Beuys, who frequently visited America to discuss and to do performances] has been talking about my 'silence', saying that it is overrated. What does that mean? [this quotes you find also in Joseph Beuys' quotes on Wikiquote], he himself heard this 'rumor' from several American artists! (Joseph Beuys continued: 'I am convinced that he [= Duchamp] knew very well what it meant. If he was unsure about it, he could have written me a letter').”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote from: 'Interview with Achille Bonito Oliva', 1986; Republished in: 'Joseph Beuys', Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993
posthumous

“My brother [the sculptor artist Raymond Duchamp-Villon had a kitchen in his little house in Puteaux, and he had the idea of decorating it with pictures by his buddies. He asked Gleizes, Metzinger, La Fresnaye, and I think Leger [all Cubist painters, then] to do some little paintings of the same size, like a sort of frieze. He asked me too, and I painted a coffee grinder which I made to explode.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote from: Entretiens avec Marcel Duchamp, 1965; as cited in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 198
Duchamp's quote is referring to his painting 'Moulin a café', 1911 - many times reproduced from the lithography, made for the 1947 re-edition of Gleizes and Metzingers book 'Du Cubisme'
1951 - 1968

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