“His [Marcel Duchamp's] idea was that anything could be art by focusing the mind to think of it as art. My images are similar but at the time my work was first being shown, 1958-'59, I was unfamiliar with Duchamp and Dada. Everyone said my work was Dada, so I read on it, went to Philadelphia to see the Arensberg Duchamp collection, was delighted by it and later met him (Duchamp)... But it was all more a coincidence. Perhaps it’s that certain ideas get into the air, ideas that come out of our living and out of the environment automatically.”

— Jasper Johns

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

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

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Jasper Johns 34

American artist 1930

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“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 (1921–1986) German visual artist

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

“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

“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

“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

“Critics frequently cry 'Dada' after attending one of my concerts or hearing one of my lectures. Others bemoan my interest in w:Zen. One of the liveliest lectures I ever heard was given by Nancy Wilson Ross at the Cornish School in Seattle. It was called Zen Buddhism and Dada. It is possible to make a connection between the two, but neither Dada nor Zen is a fixed tangible. They change; and in quite different ways in different places and times, they invigorate action. What was Dada in the 1920's is now, with the exception of the work of Marcel Duchamp, just art. What I do, I do not wish blamed on Zen, though without my engagement with Zen... I doubt whether I would have done what I have done... I often point out that Dada nowadays has in it a space, an emptiness, that it formerly lacked. What nowadays, America mid-twentieth century, is Zen?”

John Cage (1912–1992) American avant-garde composer

Quote in 'Silence: lectures and writings by Cage, John', Publisher Middletown, Conn. Wesleyan University Press, June 1961, x/SILENCE
1960s

“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 – 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
On his painting, Marcel Duchamp's World Tour.
Art

“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)

“The 'value' of particular artists after Duchamp can be weighed according to how much they questioned the nature of art.”

Joseph Kosuth (1945) American conceptual artist

Art after Philosophy, 1969

“You were asking my opinion on your work of art, my dear Jean [= Duchamp's brother-in-law Jean Crotti, who asked Duchamp his comment on an art-work he made]... Artists throughout the ages are like Monte Carlo gamblers and the blind lottery pulls some of them through and ruin others... I do not believe in painting per se – A painting is made not by the artist but by those who look at it and grant it their favors. In other words, no painters knows himself or what he is doing – There is no outward sign explaining why a Fra Angelico and a Leonardo [da Vinci] are equally 'recognized.”

Marcel Duchamp (1887–1968) French painter and sculptor

It all takes place at the level of our old friend luck.
Quote from Duchamp's letter to Jean Crotti (Duchamp's brother-in-law) and his sister Suzanne Duchamp, New York 17 Augustus 1952; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 167
1951 - 1968

“.. 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

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