2026.01.16
451.rhawn.gallery . . . "...Marcel has asked Teeny Matisse to marry him and he has chosen the Feast of Saint Marcel for the ceremony [1954.01.16]."
2025.01.16
451 Rhawn Gallery
2024.01.16
a work within This One's for George
2004.01.16
list of self portraits
1. three panels 1983-4
2. second on the incomplete (Ding) series 1986
3. third self portrait on about a dozen strathmore boards (12" x 7.x") now within The Stone and the Flesh (A Cautious Hit) series and the one-off 48" square panel (1987?)
4. 5 panels of 20" x 30" Strathmore boards (1990)
5. text within Birth of Venus 3 1991
6. text within Birth of Venus 4 1991
7. text on some Schinkel plates (wall series) 1992?
8. the gallery self portrait 1994
9. the discus thrower text 1995? (also within schizophrenia + architectures)
2003.01.16
 
Museumpeace
[Dropping the So-Called] Heilige Helena
2002.01.16
Re: How to be a famous Architect
I followed Gregory Wharton's suggestion and visited www.fat.co.uk/howto.
Upon reflection of this web visit, I was reminded of my first "art exhibition" entitled PROCESS TAKING ITS OWN SHAPE, which was part of Temple University's Architecture Program's Alumni Exhibit 1983. I brought this work together just months after receiving CAD training at INTERGRAPH in Huntsville, Alabama.
You see, CAD is what really got me interested in doing art--there was no more need for me to force my hands with the precision of hand drafting, and my hands and drawing/drafting tools were now free to do with whatever I wanted--because a machine/computer was well taking care of my professional drawing skill.
Process taking its own shape was kind of my answer to "How to become a famous Architect," and actually impressed a lot of the people that originally saw it exhibited.
This exhibit has been 'reenacted' several times, the latest manifestation being a series of webpages within Quondam's 1999 exhibit schizophrenia + architectures.
Given the fact that practically all of my architecture is virtual, it is comforting to remember that art is my reality.
Stephen Lauf
Process Taking Its Own Shape 451 Rhawn Gallery 2025.05.11
1968.01.16
1968. Tuesday, New York City
On their fourteenth wedding anniversary, the Duchamps invite Bill Copley, who is editing a new magazine S.M.S., and their friends Denise and David Hare to dinner at 28 West 10th Street.
Ephemerides
1961.01.16
1961. Monday, New York City
On their seventh wedding anniversary, Teeny and Marcel are invited to cocktails at the Ernsts before attending the preview of David Hare's exhibition at the Saidenberg Gallery, which is being celebrated with a concert.
Ephemerides
1954.01.16
1954. Saturday, New York City
Since spending Christmas at Lebanon, Marcel has asked Teeny Matisse to marry him and he has chosen the Feast of Saint Marcel for the ceremony. As his wedding gift Marcel presents Teeny with Coin de Chasteté; a small sculpture of two interlocking parts: a wedge of galvanized plaster inserted into the cleft offered by a piece of pink dental plastic.
On arrival at City Hall on this very cold day, Marcel and Teeny discover they need a witness. Quite by chance a young man sees Marcel in the ante-chamber and asks him what he is doing there. "I'm getting married like you!" replied Marcel. He has no difficulty in persuading his friend, a chess player, to be their witness. After the ceremony, they take a taxi uptown to the corner of 60th Street and Lexington where Teeny's daughter Jackie offers them a glass of champagne in her small apartment.
Ephemerides
1951.01.16
1951. Tuesday, New York City
Marcel tells Louise and Walter Arensberg about his recent visit to Philadelphia. He saw Fiske Kimball, now back from the West Coast [27.12.1950], who told him the news of the donation with ecstasy and, after a few hours discussion, Marcel says, "I heard all I wanted to know. First of all, the period of 25 years is really comforting."
Suggesting some modifications to the galleries reserved for their collection, Marcel thinks that, "a gentle disorder" in the hanging would be preferable to "a geometric 'balancing' in the disposition of the paintings". As for the Large Glass [5.2.1923], "I had already spoken, some time ago, to Miss Dreier," he explains, "and she is perfectly willing to give the glass to Phila[delphia]--I announced it to Fiske, who accepted promptly."
Marcel stresses to the Arensbergs that they must both: "get in fine shape around spring-time and come up to Phila[delphia] to see the space and decide about some final points."
Referring to Nu descendant un Escalier, No.2 [18.3.1912] currently on exhibition in Philadelphia [4.12.1950], Marcel declares: "The 'nude' is holding its own among the masterpieces of the Jubilee, says I."
Ephemerides
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