“He [= Duchamp himself, writing in the third person] CHOSE IT. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object.”

— Marcel Duchamp

Quote in: 'The Bride and the Bachelors', Tomkins, p. 41; as quoted in The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, p. 171
in this quote Duchamp is quoting himself
posthumous

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Marcel Duchamp 66

French painter and sculptor 1887–1968

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“They say any artist paying six dollars may exhibit
Mr. Richard Mutt [= Duchamp himself; an inscription written by Duchamp] sent in a fountain. Without discussion this article disappeared and never was exhibited.
What were the grounds for refusing Mr. Mutt fountain:
1. Some contented it was immoral, vulgar.
2. Others, it was plagiarism, a plain piece of plumbing.
Now, Mr. Mutt fountain is not immoral, that is absurd, no more than a bit tube is immoral. It is a fixture that you see every day in plumber’s show windows.
Whether Mr. Mutt with his own hands made this fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that's its useful significance disappeared under the new title ['The Richard Mutt Case'] and point of view – created a new thought for that object.
As for plumbing, that is absurd. The only works of art America has given are her plumbing and her bridges.”

Marcel Duchamp (1887–1968) French painter and sculptor

quote, 1917
Quote in: Theories and Documents of Contemporary Art, – a source-book of Artist's writings, ed. Kristine Stiles / Peter Selz, University of California Press, London, England, 1996, p. 817
Duchamp's core quote / his own written comment on his artwork 'Fountain (Duchamp)': The Richard Mutt Case, Marcel Duchamp, ‘Blind Man’, New York, 1917: 5
1915 - 1925

“I was on tour with Soundgarden, and I remember writing down the title. The title immediately brought up the idea of the song, which is that someone is so distracted by a new person or a new thing in their life that they kind of forgot that they had given up on life. Sometimes it just happens without us even noticing.”

Chris Cornell (1964–2017) American singer-songwriter, musician

On the inspiration behind the song "Nearly Forgot My Broken Heart" ** Chris Cornell Flashback Q&A: 'We Have to Be Aware That Life Is So Short', Yahoo!, May 19, 2017 https://www.yahoo.com/entertainment/chris-cornell-flashback-qa-aware-life-short-023857577.html,
On songwriting

“The artefacts of a genius are distinguished by rich human content, for which he forges new images and new techniques, creates new styles. He sees himself as a unique eruption in the desert of the banal.”

John Fowles book The Aristos

The Aristos (1964)
Context: The artefacts of a genius are distinguished by rich human content, for which he forges new images and new techniques, creates new styles. He sees himself as a unique eruption in the desert of the banal. He feels himself mysteriously inspired or possessed. The craftsman, on the other hand, is content to use the traditional materials and techniques. The more self-possessed he is, the better craftsman he will be. What pleases him is skill of execution. He is very concerned with his contemporary success, his market value. If a certain kind of political commitment is fashionable, he may be committed; but out of fashion, not conviction. The genius, of course, is largely indifferent to contemporary success; and his commitment to his ideals, both artistic and political, is profoundly, Byronically, indifferent to their contemporary popularity. <!-- no. 61

“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

“It is very evident that both the prophets in the Old Testament and the apostles in the New are at great pains to give us a view of the glory and dignity of the person of Christ. With what magnificent titles is he adorned! What glorious attributes are ascribed to him! All these conspire to teach us that he is truly and properly God - God over all, blessed forever!”

John Witherspoon (1723–1794) Scottish-American Presbyterian minister and a Founding Father of the United States

From his sermon "The Absolute Necessity of Salvation through Christ", 2 January 1758

“An aphorism can be considered a logically completed thought, accepted from the point of view of its meaning for the expression of new sensations, knowledge and meanings.”

Zafar Mirzo (1972)

“Marcel Duchamp, one of this century's pioneers, moved his work through the retinal boundaries which had been established with Impressionism into a field where language, thought and vision act upon one another. There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art... He declared that he wanted to kill art ('for myself') but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, a "new thought for that object."”

Jasper Johns (1930) American artist

Jasper John's quote, from: Marcel Duchamps 1887 – 1968, in 'Artforum' 7 no. 3, November 1968, p. 6
1960s

“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

“I hope that Cezanne will still be here and that he will join us, but he is so shy, so afraid of meeting new people, that I am afraid that he might let us down, even though he wants very much to meet you. How sad it is that this man hasn't had more patronage in his life! This is a true artist who has come to doubt himself far too much. He needs to be cheered up, so e was quote touched by your article.”

Claude Monet (1840–1926) French impressionist painter

Quote in a letter from Giverny to Gustave Geffroy, 23 November 1894; as cited in: P. Michael Doran (2001), ‎Art Conversations with Cézanne, p. 3
1890 - 1900

“He unveils Himself as the One He is by veiling Himself in a form which He Himself is not. He uses this form distinct from Himself, He uses its work and sign, in order to be objective in, with and under this form, and therefore to give Himself to us to be known. Revelation means the giving of signs. We can say quite simply that revelation means sacrament, i. e., the self-witness of God, the representation of His truth, and therefore of the truth in which He knows Himself, in the form of creaturely objectivity and therefore in a form which is adapted to our creaturely knowledge.”

Karl Barth book Church Dogmatics

2:1
Church Dogmatics (1932–1968)

“He [= Duchamp himself, writing in the third person] CHOSE IT. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object.”

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Marcel Duchamp 66

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