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!!!]
2001.07.25 12:18
Piranesi, Duchamp and Mustard
My original Piranesi, Duchamp and Mustard post was sent to the avant-garde list because the post as written was first submitted to the online critical forum Open Source Architecture: The Future Art Space (see the EYEBEAM ATELIER post to this list 9 July). I am not an official participant of this forum, but I have already submitted a post or two as an 'outsider'. Since this forum is moderated, I had a strong feeling that the PD&M post would not make it through to the web board, and I was right. Sending the note here as well was more or less a precautionary cyberspace measure.
The point of my original point was to test the limits of so-called Open Source Architecture, particularly with regard to whether the moderators of the forum could readily identify cyberart that was not of the (already) prescribed interface format (you know, web art that is really more like second rate movie credits sequences from the 1960s, etc.). Apparently there is a need to educate people that not all cyberart is interface/software driven. Sometimes the reality of well chosen words sent around the globe at super high speeds can be art too. [Maybe only a licenced architect that doesn't build but rather paints, collages (etc.) and likewise generates online museums recognizes the art there though.]
Of course, I'll continue sending submissions to Open Source Architecture over the next 10 days, but I'll do my best to not make them art as well. I'll plainly try to express where I think the course of the discussion there is proceding realistically, and where it seems to be misguided.
So what does 'Piranesi, Duchamp and Mustard' mean? The answer is Philadelphia (in Pennsylvania). It was in Philadelphia May 1999 that the director of Quondam - A Virtual Museum of Architecture (www.quondam.com) discovered that Piranesi's Ichnographia Campo Marzio is actually a print executed in two (heretofore unknown) states. This discovery was made in the Univ. of Penn's Fine Arts Library, a building designed by Frank Furness which in the 1960s housed Louis I Kahn's master architecture class and today houses the Louis I. Kahn Archives. The Piranesi Campo Marzio discovery occurred exactly between those two 'Kahn' spaces. The largest collection of Duchamp art in the world is at the Philadelphia Museum of Art. As creator of www.museumpeace.com I'd like to propose that there is yet another Duchamp artwork (in Philadelphia) that has yet to be cataloged, namely the window that Duscamp asked to be made for daylighting/backlighting of The Bride Striped Bare By The Bachelor Stephen--see [inactive museumpeace link].
Furthermore, whenever you're in Philadelphia, make sure you see the back door of the Etant Donnes by simply going to the Bracusi galleries adjacent to the Duchamp gallery where you will find a door with "2 KEY" scratched in above the lock. This is the door to what is still the most UNOPEN artwork of the 20th century. Mustard is what Philadelphia's for many decades now traditionally spread on their street vendor bought soft pretzels.
Stephen Lauf
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