“Another aspect of the 'readymade' is its lack of uniqueness.... the replica of a 'readymade' delivering the same message; in fact nearly every one of the 'ready-made's existing today is not an original in the conventional sense.
Since the tubes of paint used by the artist are manufactured and ready made products we must conclude that all the paintings in the world are 'ready-made's aided' and also works of assemblage.”

— Marcel Duchamp

1951 - 1968, Apropos of Ready Mades', 1961

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Marcel Duchamp 66

French painter and sculptor 1887–1968

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“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

“Now, if you [his sister, Suzanne Duchamp ] have been up to my place, you will have seen, in the studio, [his former studio in France, probably in Paris] a 'Bicycle Wheel' and a 'Bottle Rack'. [both art-works became later famous ready-mades of Duchamp] – I bought this as a ready-made sculpture [sculpture tout faite]. And I h have a plan concerning this so-called bottle rack. Listen to this. Here in N. Y., I have bought various objects in the same taste and I treat them as 'ready-mades'. You know enough English to understand the meaning of 'ready-made' [tour fait] that I give these objects. – I sign them and think of an inscription for them in English. I'll give you a few examples. I have, for example, a large snow shovel on which I have inscribed at the bottom: In advance of the broken arm, French translation: 'En avance dus bras cassé' – (Don't tear your hair out) trying to understand this in the Romantic or impressionist or Cubist sense – it has nothing to do with all that. Another 'readymade' is called: Emergency in favour of twice possible French translation: Danger \Crise \en favour de 2 fois. This long preamble just to say: Take this bottle rack for yourself. I'm making it a 'readymade' remotely. You are to inscribe it at the bottom and on the inside of the bottom circle, in small letters painted with a brush in oil, silver white colour, with an inscription which I will give you herewith, and then sign it, in the same handwriting, as follows: [after] Marcel Duchamp.”

Marcel Duchamp (1887–1968) French painter and sculptor

long quote from Duchamp's letter to his sister Suzanne Duchamp, New York, c. 15 Jan. 1916; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 pp. 157-158
1915 - 1925

“A man must serve his time to every trade
Save censure — critics are ready-made.”

George Gordon Byron English Bards and Scotch Reviewers

Source: English Bards and Scotch Reviewers (1809), Line 63.

“Every social need, such as the need for friendship, must be a party to its own satisfaction: I cannot passively find my friend as a ready-made friend; a ready-made human being he may be, but his friendship for me I must help to create by my own active resolve.”

William Ernest Hocking (1873–1966) American philosopher

Source: The Meaning of God in Human Experience (1912), Ch. XII : The Will as a Maker of Truth, p. 140.

“By contrition we are made clean, by compassion we are made ready, and by true longing toward God we are made worthy.”

Julian of Norwich (1342–1416) English theologian and anchoress

The Thirteenth Revelation, Chapter 39
Context: By contrition we are made clean, by compassion we are made ready, and by true longing toward God we are made worthy. These are three means, as I understand, whereby that all souls come to heaven: that is to say, that have been sinners in earth and shall be saved: for by these three medicines it behoveth that every soul be healed.

“When I want to do a painting with one colour overlapping another, it has to be a real overlap, not a depicted overlap. I didn't want to paint an overlap, meaning that it would be a deception or illusion. I no longer wanted to depict space, but to make a work that existed in literal space. Thus, my recent works are one canvas as a relief over another canvas. Another important example of a panel painting that explores the idea of the mural was Red Yellow Blue White 1952. It's the only one I ever did using actual dyed fabric of ready-made colours, which moves the painting into the realm of real objects.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

1981 - 2008
Source: 'Colour Chart I', interview with Christoph Grunenberg, 1 May 2009; 'Sixty years at full intensity', Tate 2009

“I realized very soon the danger of repeating indiscriminately this form of expression and decided to limit the production of 'ready-mades' to a small number yearly. I was aware at that time, that for the spectator even more than for the artist, art is a habit forming drug and I wanted to protect my 'ready-mades' against such contamination.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, Apropos of Ready Mades', 1961

“Each painting has its own way of evolving. One may start with a few color areas on the canvas; another with a myriad of lines, another with a profusion of colors... Once I sense the suggestion I begin to paint intuitively. The suggestion then becomes a phantom that must be caught and made real. As I work, or when the painting is finished, the subject reveals itself.”

William Baziotes (1912–1963) American painter

I Cannot Evolve Any Concrete Theory, William Baziotes, in Possibilities, Vol. I, no. 1, New York, winter 1947-48, p. 2
William Baziotes is referring in this quote to Surrealist automatism originally a surrealist art concept
1940s

“the idea of movement…. just transferred from the Nude [ Nude Descending a Staircase, No. 2 - Duchamp painted this in 1912] into a bicycle wheel [ Bicycle wheel, his early ready-made from 1916-17].”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote in Looking at Dada, eds. Sarah Ganz Blythe & Edward D. Powers - The Museum of Modern Art New York, ISBN: 087070-705-1; p. 41
Duchamp is looking back shortly before his death in 1968
1951 - 1968

“Most people in reasoning, dear Phaedrus, use notions that not only are "ready-made," but have actually been made by nobody. No one is responsible for them, and so they serve everyone badly.”

Paul Valéry (1871–1945) French poet, essayist, and philosopher

Socrates, p. 137
Eupalinos ou l'architecte (1921)

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Marcel Duchamp 66

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