Marcel Duchamp - Artist Quotes

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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
Miro came of age as an artist just at the time World War 1. ended. With the end of the war came the end of all the new pre-war art conceptions. A young painter could not start as a Cubist or a Futurist, and Dada was the only manifestation at the moment. Miro began by painting farm scenes from the countryside of Barcelona, his native land... A few years later he came to Paris [circa 1914] and found himself among the Dadaists who were, at that time, transmuting into Surrealism. In spite of this contact Miró kept aloof from any direct influence and showed a series of canvases in which form submitted to strong colouring expressed a new two-dimensional cosmogony, in no way related to abstraction.

Marcel Duchamp
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'. It all takes place at the level of our old friend luck.

Marcel Duchamp
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?

Marcel Duchamp
Let us consider two important factors, the two poles of the creation of art: the artist on one hand, and on the other the spectator who later becomes the posterity; to all appearances the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing.

Marcel Duchamp
In French there is an old expression, la patte, meaning the artist's touch, his personal style, his 'paw'. I wanted to get away from la patte and all that retinal painting.

Marcel Duchamp
The individual, man as a man, man as a brain, if you like, interests me more than what he makes, because I've noticed that most artists only repeat themselves.

Marcel Duchamp
In the creative act, the artist goes from intention to realization through a chain of totally subjective reactions. His struggle towards the realization is a series of efforts, pains, satisfactions, refusals, decisions, which also cannot be fully self-conscious, at least on the aesthetic plane. The result of his struggle is a difference between the intention and its realization, a difference which the artist is not aware of.

Marcel Duchamp
The spectator experiences the phenomenon of transmutation; through the change from inert matter into a work of art, an actual transubstantiation has taken place... All in all, the creative act is not performed by the artist alone; the spectator brings the work into contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.

Marcel Duchamp
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
While all artists are not chess players, all chess players are artists.

Marcel Duchamp
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
Consequently, in the chain of reactions accompanying the creative act, a link is missing. This gap which represents the inability of the artist to express fully his intention, this difference between what he intended to realize and did realize, is the personal 'art coefficient', contained in the work.

Marcel Duchamp
Millions of artist create; only a few thousands are discussed or accepted by the spectator and many less again are consecrated by posterity.
In the last analysis, the artist may shout from all the rooftops that he is a genius; he will have to wait for the verdict of the spectator in order that his declarations take a social value and that, finally posterity include him in the primers of Art history.
I know that this statement will not meet with the approval of many artists who refuse this mediumistic role and insist on the validity of their awareness in the creative act.

Marcel Duchamp
If we give the attributes of a medium to the artist, we must then deny him the state of consciousness on the aesthetic plane about what he is doing or why he is doing it. All this decisions in the artistic execution of the work rest with pure intuition and cannot be translated into a self-analysis, spoken or written, or even thought out.

Marcel Duchamp