Quotes About Duchamp

We've been appropriating in art since Duchamp, and we've been appropriating in music since the first person was banging on drums.

Futurists wanted to suggest movement by means of a dynamic painting; Duchamp applies the notion of delay - or, rather, or analysis - to movement.

Appropriation was the language of my generation in many ways. It came out of Duchamp, Warhol, Johns, Lichtenstein.

Ever since Marcel Duchamp appropriated mass market objects and pronounced them 'readymades' and Andy Warhol elevated the Campbell's soup can and Brillo Box to art, artists and designers have been blurring the lines between fine art and commerce.

Yes, and Duchamp too, when he was asked what he thought about God, said, 'Let's not talk about that. That's man's stupidest idea.' — Nikša Gligo (1972)

All art (after Duchamp) is conceptual (in nature) because art only exists conceptually.

Damien Hirst is the Elvis of the English art world, its ayatollah, deliverer, and big-thinking entrepreneurial potty-mouthed prophet and front man. Hirst synthesizes punk, Pop Art, Jeff Koons, Marcel Duchamp, Francis Bacon, and Catholicism.

In one sense, (Duchamp's) "The Large Glass" is a glimpse into Hell; a peculiarly modernist Hell of repetition and loneliness.

Sólo faltaba que pudiésemos llamar obra de arte al urinario de Duchamp y nos prohibieran en nombre del buen gusto dar el mismo calificativo encomiástico a una faena de Curro Romero!

There are times when I prefer a cerebral moment with an artist, and I'll just enjoy the wit of a Picabia or a Duchamp. It amuses me that they thought that what they did would be a good way of making art.

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

In my case, everything starts from Marcel Duchamp and the new expressive possibilities he gave us with his ready-mades. I transferred his artistic language into today's world, choosing, for example, to use pedestrian-crossing stripes as a symbol.

In the works of Duchamp, space begins to walk and take on form; it becomes a machine that spins arguments and philosophizes; it resists movement with delay and delay with irony.

If your choice enters into it, then taste is involved - bad taste, good taste, uninteresting taste. Taste is the enemy of art, A-R-T.

The thinking of John Cage derived from Duchamp and Dada. I was not interested in that.

Art for Duchamp, all the arts, obey the same law: meta-irony is inherent in their very spirit. It is an irony that destroys its own negation and, hence, returns in the affirmative.

I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is much purer than art in its social position.

Duchamp is known for calling a thing art, rather than making it. A lot of that is picked up in pop art, too.

I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is much purer than art in its social position.

I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is much purer than art in its social position. (On giving up art to play chess)