2026.06.21
the works Marcel Duchamp created while in Munich, Summer 1912:
The Bride Stripped Bare by the Bachelors
Virgin, No. 1
Virgin, No. 2
The Passage from the Virgin to the Bride
Bride
Aeroplane
List of unbekannt works within Duchamp After Unbekannt
886. ohne titel 001
887. zero zero eight
888. 040224j.db
889. 040224l.db
891. 040224n.db
892. cracks in a niche with restricted entrance
893. Artificial Duchamp After Unbekannt Intelligence
894. Dick Mutt, the four-dimensional plumber
895. Ball and All
896. zero zero nine
897. zero one zero
898. Virtual Painting 269
899. Virtual Painting 270
900. Cold Soup
901. Trash Can [Do It] 1
902. Don't Tell Anyone You Saw This 01
903. Don't Tell Anyone You Saw This 02
904. Quoting the curator who died 20 March 2005
905. Still Life 1
906. Gruß aus München
907. Abandoned Cave Dwelling from Centuries Ago
908. Abandoned Box from the 20th Century Only
909. 17032901.db Working Title Museum 005 @ Pantheon Paradigm model work
910. 93032901.db Group in Venice
911. 920329n1.db Exhibit One details
912. Geometry: its internal workings, its external expression, and its meaning in architecture
913. Duchamp painted two paintings in Munich
914. becoming attractions
915. Chestnut Tree Allée
916. A Readymade Sculpture Garden
917. two phone numbers
918. Fountain
919. The birds and the bees I
920. Untitled 1993.10.11
921. Everything Has It's Price 006
922. A's 58 001 . . . . . .
2025.06.21
451 Rhawn Gallery
 
View on and Update/Fit in Progress (Zoom Out) apposing Oversized Large Glass Mylar Redux
2024.06.21
Abstract Fashion 003
2023.06.21 From The Discovery of Piranesi's Final Project
21 June 2023 Wednesday
2020.06.21
Mary Boone's 180 hours of community service hours 112 113
Virtual Painting 540
Virtual Painting 542
Virtual Painting 543
2006.06.21
Crystal Vanish
    
Ephemeral Conceptual Art 001
2003.06.21
Re: Götterdämmerung?
Are radical repetition and repetitious radicalism the same thing [in art]?
Given that radical (in this context) means marked by a considerable departure from the usual of traditional and tending or disposed to make extreme changes in existing views, habits, conditions, or institutions, hasn't radicalism and/or being radical become a contemporary art staple, indeed (a)commonplace?
I saw Shadows in 1995 at the Andy Warhol Museum in Pittsburgh. Is Franz Klein ever that colorful or exactly repetitious or expansive?
2001.06.21
Critical Manipulation
           
I took a digital snapshot of Jasper Johns' The Critic Sees (1961) at the Philadelphia Museum of Art 2000.11.05. At home, the digital image was easily manipulated within a couple of photo/paint softwares. The process evokes an output of infinite variations, producing art reminiscent of Andy Warhol's multiple Maos.
John's sculpture, as Richard Francis states, "asks questions about the nature of the object, of sculpture, and about the function of criticism."
Critical Manipulation raises questions about digital non-objectness, imagery, artistic dexterity, and even creative intellectual property.
1987.06.21
featuring Hey Art Picasso How's Your Brother Dick?
Stephen Lauf back room 1987.06.21
1961.06.21
1961. Wednesday, Cadaqués
"We have heard such good reports on the Stockholm show [16.5.1961] that we are very much tempted to go to Stockholm at the end of August from Paris," writes Duchamp to Pontus Hulten. Enquiring about the cost of flying there but returning by train and boat via Copenhagen and Antwerp, Duchamp adds: "Please give my best regards to Mr Linde, who did a splendid job, it seems, on my Large Glass."
Ephemerides
1917.06.21
1917. Thursday, New York City
It has been a very hot day. In the evening, to cheer up Beatrice Wood, who is still shocked and heartbroken since Roché admitted that he has been unfaithful to her, Francis Picabia and Marcel take her to Coney Island. Knowing that she is afraid of roller coasters, they persuade her to ride on the most dangerous one again and again until she controls her screams. They enjoy themselves enormously--particularly Bea, who feels that with Marcel's arm around her she can face anything.
Ephemerides
1912.06.21
1912. Friday, Munich
In the evening, after a long uneventful journey by train from Constance, Duchamp reaches the Bavarian capital. His guide is Max Bergmann, whom he met in Paris two years before [1.3.1910]. While Bergmann was in Paris, Duchamp went out of his way to make his visit a memorable one. Besides advising him about exhibitions to visit, Duchamp took him to Versailles [26.4.1910] and introduced him to the night life of Montmartre. Bergmann hoped he could repay his friend's kindness, and Duchamp has accepted Bergmann's invitation to Munich, just when he has resolved to break with the past.
Ephemerides
1778.06.21 From The Discovery of Piranesi's Final Project
21 June 1778 Sunday
Piranesi's highly irregular intention to erase all his previously etched circus plans and then redraw them to match the plan configuration of "Caracalla" baffled the entire workshop. Laura14 and Francesco even wondered as the rightness of their father's mental state. Yet Piranesi simply explained how the earlier circus plans proved to be discreditable and must be corrected posthaste. The copper plate areas needing erasure were not terribly large, 24 square inches at most, but the minute and fine nature of the existing line work required a continued, fully concentrated removal effort--a task falling to Piranesi and Laura, she doing the scrapping and he right beside her doing the burnishing, while Francesco carries out further field survey work gathering data to facilitate the imminent corrected circus plan designs. A wholly unanticipated "ancient circuses" publishing project is now underway.
Facsimile representation of the Circus Maximus plan (3 13/16" x 11") within the 'Pianta dell antico Foro Romano' copper plate before the 1778 scraping and burnishing erasure.
Facsimile representation of the Circus Hadriani plan (2 7/16" x 8 3/16") within the 'Ichnographia Campus Martius' copper plate before the 1778 scraping and burnishing erasure.
14. Laura Piranesi, the eldest of Piranesi's five children, turned 24 years of age in 1778. The nimbleness of Laura's confident etching abilities impressed Piranesi to no end. The summer of 1778 turned out to be a time of special bonding between Laura and her father, and Piranesi was a very proud father of Laura.
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