Piranesi, Duchamp and Mustard
My original Piranesi, Duchamp and Mustard post was sent to the avant-garde list because the post as written was first submitted to the online critical forum Open Source Architecture: The Future Art Space (see the EYEBEAM ATELIER post to this list 9 July). I am not an official participant of this forum, but I have already submitted a post or two as an 'outsider'. Since this forum is moderated, I had a strong feeling that the PD&M post would not make it through to the web board, and I was right. Sending the note here as well was more or less a precautionary cyberspace measure.
The point of my original point was to test the limits of so-called Open Source Architecture, particularly with regard to whether the moderators of the forum could readily identify cyberart that was not of the (already) prescribed interface format (you know, web art that is really more like second rate movie credits sequences from the 1960s, etc.). Apparently there is a need to educate people that not all cyberart is interface/software driven. Sometimes the reality of well chosen words sent around the globe at super high speeds can be art too. [Maybe only a licenced architect that doesn't build but rather paints, collages (etc.) and likewise generates online museums recognizes the art there though.]
Of course, I'll continue sending submissions to Open Source Architecture over the next 10 days, but I'll do my best to not make them art as well. I'll plainly try to express where I think the course of the discussion there is proceding realistically, and where it seems to be misguided.
So what does 'Piranesi, Duchamp and Mustard' mean? The answer is Philadelphia (in Pennsylvania). It was in Philadelphia May 1999 that the director of Quondam - A Virtual Museum of Architecture (www.quondam.com) discovered that Piranesi's Ichnographia Campo Marzio is actually a print executed in two (heretofore unknown) states. This discovery was made in the Univ. of Penn's Fine Arts Library, a building designed by Frank Furness which in the 1960s housed Louis I Kahn's master architecture class and today houses the Louis I. Kahn Archives. The Piranesi Campo Marzio discovery occurred exactly between those two 'Kahn' spaces. The largest collection of Duchamp art in the world is at the Philadelphia Museum of Art. As creator of www.museumpeace.com I'd like to propose that there is yet another Duchamp artwork (in Philadelphia) that has yet to be cataloged, namely the window that Duscamp asked to be made for daylighting/backlighting of The Bride Striped Bare By The Bachelor Stephen--see [inactive museumpeace link].
Furthermore, whenever you're in Philadelphia, make sure you see the back door of the Étant donnés by simply going to the Bracusi galleries adjacent to the Duchamp gallery where you will find a door with "2 KEY" scratched in above the lock. This is the door to what is still the most UNOPEN artwork of the 20th century. Mustard is what Philadelphia's for many decades now traditionally spread on their street vendor bought soft pretzels.
looking in Étant donnés' back door
QA001 & QA002
The subtitle for 002 is Étant donnés' Back Door, or and after the "or" might come something like Honeymoon Fashions by the Bachelor Stephen. This CD is about my art and my ideas about art and creativity. My "art" will include the paintings, the works on paper, the projects I've only written notes about, as well as my prints, my architecture, my poetry, the self portraits, the digital photography, the exhibits. It is in 002 that I can fully articulate how learning CAD made me an artist. I just remembered my fashions, thus I could well include my “remove” ideas.
Up till now I thought 002 would be mostly about Duchamp and how he fits in my art work, but now it's going to be about my artwork. I really like the prospect of this project, but it is going to require lots of work because there are no existing web pages on my art except for a few experimental pages. In any case, I look forward to the project because the CD itself will be a work (of art).
sacred and profane exhibit
The next set of pages will deal with the PMA Duchamp gallery and its shrine/sacred setup, versus the profane nature of the content, urinal, peephole, etc. My "urinal in a gallery" is to be included.
Next will be something about Étant donnés, art grasped by the mind, concepio, 2 keys, Bloomer and Columbia guy, the intercourse building. This will all lead to the axis of life and death (and this could also include calling the axis of life also sacred, and the Equirria also profane). I have all the graphics at hand for this. Tertullian’s text also offers a good profane versus sacred example, and when I finish with the Christian version of the sacred axis, it will supply the segue to the Eliade 'sacred and profane' thesis, which I then quickly associate with the human body diaphragm, and ultimately with chronosomatics and the apocalypse.
Thursday night ideas, etc.
Dossiers/Duchamp has much content that includes examples of my own artwork; "all in the cracks". I quess my next plotting has to be at least 5 new mylar cracks with images and acrylic coloring for the Rising Sun frames. The large RS canvas will be a display of laser cracks printed on all kinds of magazine images, including new/additional images in the cracks--great cad/laser work and great subject for acrylic medium collage.
Now putting the cracks in the Philadelphia model context; digitize the scared/profane sculpture group; do the axis via cad; Twombly would be great “interpreted” with CAD as would Étant donnés and other Duchamp works in “3d” cad space.
Fractional Self Portrait with Étant donnés' Back Door
completely lost track
...a new CD/book project entitled Étant donnés' Back Door.
Being Obscure or Étant donnés' Back Door--introduce EDBD at design-l; I now categorize myself as appositional and obscure; inverse of notitiae; what I was doing right before poetry squared reenactment; an experiment in obscurity theory; being fog = befog = obscure; design-l archive = "a jackpot of obscurity."
Étant donnés' Back Door at Museumpeace.