Duchamp Quotes

“In one sense, (Duchamp's) “The Large Glass” is a glimpse into Hell; a peculiarly modernist Hell of repetition and loneliness.”
― Robert Hughes, The Shock of the New

“The end of this history saw the banality of art merge with the banality of the real world - Duchamp's act, with its automatic transference of the object, being the inaugural (and ironic) gesture in this process. The transference of all reality into aesthetics, which has become one of the dimensions of generalized exchange...
All this under the banner of a simultaneous liberation of art and the real world.
This 'liberation' has in fact consisted in indexing the two to each other - a chiasmus lethal to both.
The transference of art, become a useless function, into a reality that is now integral, since it has absorbed everything that denied, exceeded or transfigured it. The impossible exchange of this Integral Reality for anything else whatever. Given this, it can only exchange itself for itself or, in other words, repeat itself ad infinitum.
What could miraculously reassure us today about the essence of art? Art is quite simply what is at issue in the world of art, in that desperately self-obsessed artistic community. The 'creative' act doubles up on itself and is now nothing more than a sign of its own operation - the painter's true subject is no longer what he paints but the very fact that he paints. He paints the fact that he paints. At least in that way the idea of art remains intact.”
― Jean Baudrillard, The Intelligence of Evil or the Lucidity Pact

“It is weird when one of those copies is put out on the display to observe people taking the thing so seriously. You see hordes of unsmiling art-worshippers craning their heads around the object, staring at it for ages, standing back, looking at it from all angles. It’s a urinal! It’s not even the original. The art is in the idea, not the object.”
― Will Gompertz, What Are You Looking At?: 150 Years of Modern Art in a Nutshell

“This fetishistic transmutation separates Warhol from Duchamp and all his predecessors. For Duchamp, Dada, the Surrealists and all who worked to deconstruct representation and smash the work of art are still part of an avant-garde, and belong, in one way or another, to the critical utopia. For us moderns, at any rate, art has ceased to be an illusion; it has become an idea. It is no longer idolatric now, but critical and utopian, even when -- particularly when -- it demystifies its object or when, with Duchamp, it aestheticizes at a stroke, with its bottle-rack, the whole field of daily reality.

This is still true of a whole segment of Pop Art, with its lyrical vision of popcorn or comic strips. Banality here becomes the criterion of aesthetic salvation, the means of exalting the creative subjectivity of the artist. Obliterating the object the better to mark out the ideal space of art and the ideal position of the subject. But Warhol belongs to no avant-garde and to no utopia. And if he settles utopia's hash, he does so because, instead of projecting it elsewhere, he takes up residence directly at its heart, that is, at the heart of nowhere. He is himself this no place: this is how he traverses the space of the avant-garde and, at a stroke, completes the cycle of the aesthetic. This is how he at last liberates us from art and its critical utopia.”
― Jean Baudrillard, The Perfect Crime

“La sangre de Short salpicaría incluso al padre del arte contemporáneo, Marcel Duchamp. Críticos como el profesor Jean Michel Rabaté apuntan, citando a Steve Hodel, que Duchamp se inspiró en las noticias de nota roja publicadas en la prensa de 1947 para realizar su obra póstuma, Étant Donnés (1968). Además, pudo haber conocido la identidad secreta del asesino a través de su amigo Man Ray. Parece una locura, ¿no? Los críticos, que tanto Duchamp como Man Ray siempre consideraron pretenciosos y aburridos, se habían vuelto interesantes de pronto.”
― Beatriz García Guirado, La chica muerta favorita de todos: El caso de la dalia negra y el detective de la multitud