2026.05.07
received the 2026 Marcel Duchamp exhibition catalogue today, etc.
 
So, in 2026, Marcel Duchamp's To Have the Apprentice in the Sun is "based on" Alfred Jarry's "The Passion Considered as an Uphill Bicycle Race", where as, in 2000 and according to Arturo Schwarz, Duchamp's To Have the Apprentice in the Sun is "most probably suggested by an Alfred Jarry prose poem."
Considering the research published here within Duchamp After Unbekannt 11 October 2025, 28 March 2026 and 30 April 2026, it is more correct to say: Marcel Duchamp's To Have the Apprentice in the Sun is most probably only marginally, if at all, suggested by Alfred Jarry's "The Passion Considered as an Uphill Bicycle Race".
2025.05.07
looking at
options
2017.05.07
Read this a few days ago:
I suppose that has always been the definition of a monument, something that one needs to be photographed in front of to cement the deal: "I was there." In the past, however, one might not have wanted to align one's identity as an art person with that of the tourist. How many people have had themselves photographed in front of Duchamp's The Large Glass? Apart from the fact that photography is not permitted in the Philadelphia Museum of Art [sic], probably not very many. And, before it was largely underwater, having oneself photographed in front of Robert Smithson's Spiral Jetty, saying cheese and waving to the camera, would almost certainly indicate a lapse of taste or judgment, whichever applies, or at the very least suggest that the subject of such a photograph, as well as the person who snapped the shutter, was high at the time. What that means, of course [sic], is that neither The Large Glass nor the Spiral Jetty, strictly speaking, needs you. Its art status is largely confirmed precisely by that fact--it is autonomous, at least as far as its originating impulse is concerned. That is not to say that it is not meant to be seen. One has either seen The Large Glass or not. But if one were to use a selfie-stick to make an image of oneself waving and smiling in front of it, or in front of the Spiral Jetty, it would simply make that person look like an idiot, or someone deliberately poking fun at Duchamp or Smithson.
David Salle, How To See: Looking, Talking, and Thinking about Art (2016), pp.201-2.
A photo taken 2002.03.01 at the Philadelphia Museum of Art of a photograph taken at the Philadelphia Museum of Art.
Stephen Lauf The Assistant @ Ex-Box Times Three 2001.07.24
2009.05.07
LAME SCHOOL QUESTION (Beaux Arts Edu.)
"Knock and it shall be opened to you."
2002.05.07
art bu$ine$$
When you read The Andy Warhol Diaries it becomes very evident how much money/value mattered to Warhol. Besides all the entries of expenses for tax records, there is the interesting case when fashion designer Stephen Spouse (sp?) went bankrupt. At the auction of the Spouse holdings were a pair of Spouse portraits by Warhol, and Warhol made sure that the value of the portraits did not drop because of a low bid at auction by buying (back) the portraits himself (via one of his employees). And in general the auction prices of Warhol works were always watched by Warhol very carefully.
Warhol died a very, very wealthy man/business.
Museumpeacekeepers
1952.05.07
1952. Wednesday, New York City
Knowing that there is little enthusiasm in Philadelphia [19.4.1951] for the remainder of Miss Dreier's personal collection, Duchamp has decided to offer the group of works to Duncan Phillips, who purchased a fine Juan Gris from Miss Dreier [24.7.1950] in October 1950. Duchamp writes to Phillips requesting a meeting in Washington the following week to discuss the matter with him.
Ephemerides
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