2002.10.24 15:33
All those "separated at birth gags...
 
Stephen Lauf
All those "separated at birth" gags are destined to become a poignant part of turn-of-the-millennium art history, or at least that's what fictitious fashion voyeur Dick Hertz said. (Also known as Wig Nut and Wig Not)
2002.10.24
digital image files diptych
dimensions variable
2002.10.25 19:50
Re: The GREATMAN
Frank Zimmerman wrote in closing:
i kan hardly waite for 'ZTiffAN' to hurll hiz VORboze into THiz MIXX-KAN U & by the TIme 'THe RAiny-BUFfollow putzz IT toGETHER WE'll B zunning OURzelvez-a LONGway from PHillee'
Steve replies:
I could be cute and say I really should delay any 'hurl' coming from my direction, or more specifically from my Philadelphia position, but the truth is that I enjoy this bulletin board and it ongoing postings. I enjoy the stimulation as well as the open opportunity engendered by the bulletin board. Of course, this is because I even more enjoy the stimulation and open opportunity engendered by Duchamp and his works.
My first visit to the Philadelphia Museum of Art (in 1972 when I was a sophomore in high school) was spurred on by Life magazine's feature of the world's largest painting by Gene Davis. It was on that first visit that I at least remember seeing The Large Glass for the first time, but with no prior knowledge of it or Duchamp--perhaps in retrospect experiencing a kind of lose of virginity in the process, yet also oddly not knowing then who was ultimately "f-ing" with me. I wasn't crazy about what I saw, but the full title of the piece did indeed "tickle" me. Beyond that, I can now only guess that I probably didn't see into Étant Donnés that first visit, thus I probably saw the door, but didn't know to look inside.
Sometime it seems like a lot has happened (with me) in the 30 years since then, and sometimes it seems that maybe not enough happened since then. And then even delay becomes an issue, and I suppose that's appropriate (or is it just cute?).
One work at the PMA that I clearly remember from my first visit is the very early Picasso Self Portrait in its collection (currently on an exhibition tour). Picasso was still alive then, but he died the next year. I remember how Time magazine began it report of Picasso's death, something to the effect of moving from "Picasso IS the greatest artist of the 20th century to Picasso WAS the grestest artist of the 20th century."
I've just now been inspired to consolidate my Philadelphia Museum of Art focus via (working title) Reenacting Triumph on Fairmount, Even
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2002.10.28 17:57
Re: Duchamp says viewer finishes the work of art?
Having thus been prompted by YaLing Chen's post, I went to read "The Creative Act" within a copy of the latest reprint of Salt Seller, a book I purchased at the Philadelphia Museum of Art something like two years ago. I know I never read this book cover to cover, but I probably read the short 'essays' when I first bought the book. Anyway, before reading "The Creative Act" today, I first (re?)read the text right before it, namely, "Regions which are not ruled by time and space....", text of a television interview of Duchamp by James Johnson Sweeney January 1956 filmed at the Philadelphia Museum of Art. [I was in Philadelphia at the time, but still in my mother's womb, waiting for the last hours before Spring it turned out.] This reading turned out to be completely apropos because earlier today I composed and uploaded a series of webpages entitled Dossier Duchamp which comprise [almost] all the images I've taken of/within the Duchamp Gallery at the Philadelphia Museum of Art since 11 February 1999.
Being now more aware of "Regions which are not ruled by time and space...." I propose Museum Studies 6.1 where visitors to the PMA Duchamp Gallery are encouraged to bring along a copy of the Duchamp/Sweeney interview text and then speak some of the passages while in the Duchamp Gallery, thus somewhat closely renacting sound waves first produced by Duchamp and/or Sweeney within the same space, yet at a different time, obviously.
The next time I visit the PMA Duchamp Gallery you can be sure I'll reenactingly speak "There is a symmetry in the cracking, the two crackings are symmetrically arranged and there is more, almost an intention there, an extra--a curious intention that I am not responsible for, a ready-made intention, in other words, that I love and respect."
2002.11.03
back covers
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