2004.04.25
papers of the HTAFCC
Duchamp and Jennewien--"Nudist Camp at the PMA"--this is about axiality, but also about inspiration (e.g., of ignudi and the placement of The Large Glass and Etant donnes. It may begin with Jennewien’s Western Civilization and the themes of sacred and profane (love) and polychromy. The sacred and profane issue make me wonder if the sacred and profane issues of chronosomatics also get involved, although the dichotomy probably relatesbetter to the divisional notion of religious versus secular art
2004.05.14 13:31
Papers of the Horace Trumbauer Architecture Fan Club Convention
Reenactionary Bilocating Architecturism
Saint Catherine de Ricci and Louis I. Kahn
Nudist Camp at the Philadelphia Museum of Art
Marcel Duchamp and C. Paul Jennewein
a moldy paper on mildew
Gordon Matta-Clark
De Spectaculis II
Quintus Septimus Florens Tertullianus and John the Baptist Piranesi
The Promenade Architecturale Formula
Le Corbusier
The Marriage of Twisted and Columns
Eutropia and Pieter Pauwel Rubens
The Architecture of Constantine the Great
Saint Helena, Eutropia, Eusebius Pamphili, and Saint Ambrose
Here a Versailles, There a Versailles, Everywhere a Versailles Sigh
Marie Antoinette, Ludwig II, and Lucretia "Eva" Bishop Roberts Cromwell Stotesbury Dougherty
[As Gordon often liked to say, "Rusty ain't the half of it."]
2004.05.26 12:12
Re: artists faces within their own work
I really like Duchamp, but I like reenactment better. When it comes to reenacting, Duchamp is kinda schwartz and cheezy. Mind you, I love cheese, but Sherman's reenactments are lots and lots of full course meals, and 'all you can it' at that.
on the other hand:
Is Étant Donnés Duchamp's ultimate reenactment? Does Sherman profit most from Étant Donnés? Maybe Cassandra knows. Maybe Smarty Jones.
I keep on wanting to post images of the 3d computer model of the Philadelphia Museum of Art that I recently constructed, depicting the Duchamp gallery and the room of Étant Donnés. Oh wait. I forgot. Duchamp and Jennewein asked for these images to illustrate thier forthcoming "Nudist Camp" paper for the Horace Trumbauer Architecture Fan Club Convention. Tough titties, I guess.
2004.06.01 15:43
Re: artists faces within their own work
You mean one of the Schwarz reenactments of Duchamp's In Advance of the Broken Arm?
Does the PMA even own one of these reenactments?
Hey DuSnatch, whose critical thinking are you reenacting?
2004.06.02 12:49
Re: artists faces within their own work
Reenactment has been a working/artistic operating system for me since June 1987 when I began to redraw Piranesi's Ichnographia Campus Martius with the new CAD system/business set up in my house. I read (select passages of) Collingswood's The Idea of History for the first time July 1997, and it then didn't take long for me to realize that what I had been doing relative to Piranesi the prior 10 years was reenactment. I don't critically think about reenactment as much as I critically do reenactment!
What Schwarz did was not a replication of Duchamp's work since the originals no longer existed when Schwarz did his work. The best Schwarz did was to reenact to originals.
I know you (Demos) will never admit to my original thinking regarding Duchamp and reenactment, because then you'd have to also admit to reenacting me.
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2004.06.02 14:51
Re: artists faces within their own work
never even went to grad school
think of the money you too could have saved
why do you suppose a 16 year art historian
even bothers to banter with a stupid and weird person?
takes one to know one?
unconscious reenacting (just like Duchamp)?
put yourself in art history:
Bitch and Pussy ReduxChance
2004.06.04 13:55
Re: artists faces within their own work
from Arturo Schwarz, The Complete Works of Marcel Duchamp:
332. In Advance of the Broken Arm
Readymade: wood and galvanized-iron snow shovel
Original lost, dimensions not recorded
Inscribed along lower rim of ungalvinized reinforcement plate: In Advance of the Broken Arm / (from) Marcel Duchamp 1915
Duchamp bet Piranesi that your's is as big as a bucket. Alas neither wants to win though, because neither cares to know for sure.
2004.06.11 15:28
Re: Art Basel a good place for finding a gallery?
My 'shameless self-promotion' only proves that I'm not as stupid as everyone else when it comes to painting a (Duchampian, even?) picture of myself.
I now know that I don't know what velatura is. Gosh, one just never stops learning.
I learned long ago that life is much better lived shamelessly.
meanwhile, back in the afterlife:
dl 2004.06.11 no thanks for the memories
2004.06.30 18:38
Re: Tomma Abts
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2004.06.30 20:01
Re: Tomma Abts
1. I posted the link to the Duchamp painting to illustrate why the DuChampion(s?) here at talkback might be liking the paintings of Abts.
2. as an artist, Abts is not yet as successful as Duchamp.
3. Can resemblance really be anything but superficial?
2004.07.25 11:31
CSI: Philadelphia
Fresh fingerprints were placed upon a Duchamp Bride painting in unwatched gallery sometime Friday early afternoon 23 July 2004 while two female guards gossiped in Spanish in adjacent Brancusi gallery.
Professor Aplomb in the Hall with the revolver.
wqc/12/1171.htm
Overweight Cardinal gets stuck in confessional after hearing his own sins.
wqc/13/1206.htm
[Marcel and Paul laugh their 'nudist camp' asses off.]
2004.07.25 18:11
Lawbreakers? Armed with only paint and paste? or More??
And Duchamp arranged the Arensberg collection within the Philadelphia Museum of Art, hence the Brancusi gallery next to the Duchamp gallery.
The gossiping guards were in the door (to the Brancusi gallery) between two Matisse paintings.
Thumb, index and middle finger of left hand.
[Damn, I should have spun that bicycle wheel!!!]
2004.09.22 12:27
piss elegant
As soon as the paint was dry to the touch, Jackson broke down the stretcher, rolled the canvas, and transported both to Peggy's apartment building on East Sixty-first Street. When he reassembled it in the low, ground-floor elevator lobby, however, he discovered it was too long-by almost a foot. Sleepless, distraught, and close to panic, he telephoned Peggy at the gallery. "He became quite hysterical," Peggy recalled. That was before he began to drink. Knowing that Jackson would be in her apartment that day, and "knowing his great weakness," Peggy had hidden her liquor before leaving for the gallery. But Jackson soon found it. His calls became more and more frantic. He pleaded with her to "come home at once and help place the painting." Finally, she called Marcel Duchamp and David Hare and persuaded them to rescue Jackson. "Peggy wanted us to tack it up," Hare recalled, "but it missed by eight inches so we cut eight inches off from one end. Duchamp said that in this type of painting it wasn't needed. We told Jackson, who didn't care." By then, Jackson was too drunk to care. Weaving and incoherent, he walked into the apartment where Connolly's party was already under way, crossed the room, unzipped his pants, and peed in the marble fireplace.
The demons were loose again
Steven Naifeh and Gregory White Smith, Jackson Pollack: An American Saga (New York: Harper Perennial, 1991) pp. 468-9.
Between studies there were a good few parties at Yale: parties in the Rogerses' house when their old lady was away in Florida; parties in Eldred's attic, parties given by other students, and above all a big party given by Paul Rudolph for Jim, which has become legendary. Richard Rogers vividly remembers the crucial episode at it: 'He had this amazing modern, real extreme modern, slightly Hollywood apartment, with steps coming in at the higher level, marble steps cantilevered off the wall. At the end there was a double-height wall of glass, and outside this there was probably seven foot of open space before a big white wall. The wall had a great light on it so you looked at it as though it was the screen of a cinema, and the light reflected back into the room -- absolutely white. And everybody else was there. There was a piano, and let's say a hundred people. An hour later, still no Jim. No Eldred. Door opens up at high level, there's a commotion, yells and giggles and so on, and then suddenly there come Eldred and Jim, down these cantilevered slightly marbly steps, giggling because they're canned, literally just rolling down these goddamn steps, drunk. It was a great entry. Paralytic. And like a lot of these paralytic situations, they didn't hurt themselves. A few minutes later Jim says "Where's the loo?" Somebody says, "Oh, it's upstairs." Jim says, "Fuck the loo" or something, goes into the space outside, in front of this unbelievable white screen, turns round and pisses against the glass, with about a hundred people who could look nowhere else. Like on a cinema screen.'
This story is endlessly retailed. It is the best known of the many stories about Jim. All the versions are a little different, not surprisingly, as everyone was well stocked up with drink when it occurred. It has been improved on -- it seems likely, for instance, that the people at the other end of the room remained unaware -- but it happened. Rudolph hated to talk about it. Other people have different theories about why Jim did it: Rudolph had flayed Jim at a crit, as was sometimes his way with critics as well as students, and this was Jim's way of getting back at him; it was a 'sod you' gesture against the Yale establishment; it was just because Jim was drunk and happy. Perhaps it was a bit of all three, perhaps mostly the last. Explanations vary, but the basic image remains: Jim, with a big grin on his face, peeing against the glass.
Mark Girouard, Big Jim: The Life and Work of James Stirling (London: Chatto & Windus, 1998), pp. 124-5.
In the future, everyone will piss for 15 minutes.
the posthumous Duchamp
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2004.09.25 13:36
MVRDVs Serpentine
Now that's (very unscientifically) jumping to conclusions.
The promenade architecturale formula is about as 'serious scientifically based' as I've seen architecture get--papers of the Horace Trumbauer Architecture Fan Club Convention.
I hear Le Corbusier's going to make special note of your work above.
Update: Matta-Clark's paper is now entitled "Learning from Lacunae" and Helena's paper is now to be written by heself and is entitled "Pilgrimage, Reenactment and Tourism". Duchamp/Jennewein and Eutropia/Rubens are now coordinating with each others papers.
2004.10.04 10:47
4 October 1720, etc.
Giovanni Battista Piranesi was born 4 October 1720.
Although very little of his designs were actually executed in built form, Piranesi nonetheless often signed his work with the title of architect. For example, the frontispiece of Le Antichita Romane volume II contains a signature plaque with the architect designation --
www.quondam.com/temp/signature.jpg . When I started working on Prince of Traffic (part 2 now complete --
www.quondam.com/temp/viaappia.jpg ) I had no idea the original print depicted a fantastical view of the Appian Way. It really is something like a funerary "rush hour."
And how about Mount St. Helens "fuming" in the news again. Wasn't aware of the coincidence before, but 18 May 1980, when Mount St. Helens last exploded, was also my mother's 56th birthday. My maternal grandmother once told me about the fire alarm being sounded in Brestowatz, Yugoslavia on 18 May 1924. The Danube had begun to break its banks, thus an emergency call for all men in the region was sounded. "Well, that sure explains Mom."
Personally, I see the recent volcanic activity in Washington State as a sign that 'Happy Birthday Helena Augusta' hit its mark, especially since I (embarrassingly remember that I) forgot my own mother's birthday 18 May 1980.
Death of Marcel Duchamp 2 October 1968.
Birth of Giovanni Battista Piranesi 4 October 1720.
Birth of Le Corbusier 6 October 1887.
Death of Otto I of Bavaria 11 October 1916.
Napoleon's arrival at St. Helena Island 15 October 1815.
2004.11.10 12:32
Re: Concrete Comedy: A Primer
from the index of Christian Norberg-Schulz, Intentions in Architecture (Cambridge, MA: MIT Press, 1965):
Concretization: 64, 66, 68, 71, 77, 107, 157, 188
Since G.B. Piranesi died 9 November 1778, perhaps he died in the middle of the afternoon, like right around the time I received an email from Artforum informing me that response to "Concrete Comedy: A Primer" had been added to Talkback.
Anybody else here ever read Lequeu: An Architectural Enigma by Philippe Duboy?
"...with meticulous research to decipher the conundrumical nature of an eighteenth-centruy maverick artist whose drawings have established him variously as a visionary architect, forerunner of surrealism, and inventor of bad taste."
"He suggests that Duchamp and Raymond Roussel tampered with the Lequeu drawings to concoct a character and oeuvre even more involved than was previously thought possible."
["History is no mystery."]
domains come duCheaply
http://www.concretecomedycentral.info/
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2004.11.25 11:51
Re: Deconstruction? no, afterlife
more like tr[a]um bauer
maybe calendrical coincidence is a bore to some
papers of LEAVING OBSCURITY BEHIND
Reenactionary Bilocating Architecturism
Saint Catherine de Ricci and Louis I. Kahn
Nudist Camp at the Philadelphia Museum of Art
Marcel Duchamp and C. Paul Jennewein
Learning From Lacunae
Gordon Matta-Clark
De Spectaculis II
Quintus Septimus Florens Tertullianus and John the Baptist Piranesi
The Promenade Architecturale Formula
Le Corbusier
The Marriage of Twisted and Columns
Eutropia and Pieter Pauwel Rubens
Pilgrimage, Reenactment and Tourism
Flavia Julia Helena Augusta
Here a Versailles, There a Versailles, Everywhere a Versailles Sigh
Marie Antoinette, Ludwig II, and Lucretia "Eva" Bishop Roberts Cromwell Stotesbury Dougherty
and maybe
De Spectaculis III
Guy Debord
[planning started almost a year ago: wqc/02/0126.htm]
virtual novel writing
2004. The Odds of Ottopia
2005. Leaving Obscurity Behind
2004.11.26 08:46
looks like the party’s already starting
A Party of Renaissance Personalities
http://www.nytimes.com/2004/11/26/arts/design/26cott.html
[note the exhibit ends 13 February 2005, the quondam feast of Saint Catherine de Ricci.]
13 February 2004
wqc/03/0269.htm
wqc/03/0270.htm
wqc/03/0271.htm
13 February 2005 is the scheduled date of the Saint Catherine de Ricci and Louis I. Kahn presentation of "Reenactionary Bilocation Architecturism", while the Marcel Duchamp and C. Paul Jennewein presentation of "Nudist Camp at the Philadelphia Museum of Art" is set for 20 March 2005. Since Bronzino's Portrait of Cosimo I de'Medici as Orpheus --
wqc/02/0193.htm and wqc/05/0442.htm --
is a key part of "Nudist Camp..." a bilocation of both papers would make a better reality.
2004.12.22 12:47
coincidental? or Learning from Nudist Camp
In keeping with the bilocation theme/amalgamation of Leaving Obscurity Behind, Duchamp and Jennewein, with help from Michelangelo, are installing new virtual art works for the two still-blank pediments of the Philadelphia Museum of Art courtyard.
Either I never noticed it before or it's a new display, a portrait of Marie-Antoinette hangs in a gallery of the Philadelphia Museum of Art that is next to the gallery containing four French sculptures given to the Museum by Eva Stotesbury in memory of her husband Ned. Of course, Marie-Antoinette and Eva and Ludwig have been very close recently as they prepare for "Here a Versailles, There a Versailles, Everywhere a Versailles, Sigh" to be delivered at Versailles, Herrenchiemsee, and Whitemarsh Hall 18 January 2005. Otto's already made provisions in case anyone attending the lecture comes down with trilocation-sickness.
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