2026.05.09
ephemera galore: a vertigo-of-the-mélange kind of day
 
 
 
 
 
 
 
 
2025.05.09
451 Rhawn Gallery
where curiosity is key.
where the still unfinished and yet to be titled LARGE GLASS REDUX is hanging on a wall for the first time ever, 31 years after its initial pen-plot manifestation.
illusions
2016.05.09
Vanna Venturi House's new owner plans to preserve property
...right now I'm only thinking about the Vanna Venturi House, and not (yet) thinking of any broader implications. I just couldn't think of any real compelling reasons why it's important that the house remain preserved "as it has been maintained thus far." Can you think of any compelling reasons why it's important that the house remain preserved "as it has been maintained thus far?"
Or, let me put it this way: can you think of any compelling reasons why it's important that the house remain preserved "as it has been maintained thus far" that isn't based on somehow maintaining control?
Regarding documentation, the modern era itself could well be called the era of overwhelming documentation. Centuries old buildings are preserved primarily because they are among the relatively scant remains/documentations we have of past times. Conversely, the Vanna Venturi House is (literally) voluminously documented, indeed to the point where the documentation has a much more far-reaching influence than the building itself.
Personally, if it were my design, I'd make the working drawings of the house available for sale so that who ever wanted their own version of the house could actually build/have one. And it'd be preservation without control, because I'd like to see how different buyers might make changes or additions to the design to suit their own taste or needs.
1916.05.09
1916. Tuesday, New York City
"I was out of town until yesterday, that's why you didn't hear from me," writes Duchamp from 1947 Broadway to John Quinn, promising the translations of the letters [8.5.1916] by Friday or Saturday.
For Morton Schamberg's exhibition in Philadelphia which is due to open mid-May, Duchamp asks Quinn whether he will lend Femme assise by Duchamp-Villon [24.8.1915] allowing Stéphane Bourgeois to send it with a selection of other works from the recent exhibition [1.4.1916].
Ephemerides
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