2026.09.06
Strange Fruit (for David) @ PMA
2026.09.04
2001.09.04
2025.09.06
451 Rhawn Gallery
2003.09.06
Re: David Rimanelli
Happy posting, yes, but also related to Rimanelli (here at least) in that the "spaces" depicted cannot be visited for a possible Entries. Rimanelli goes to real places(/events), many times even somewhat exclusive places(/events) within the art world. His writing about "being there" offers behind-the-scenes glimpses and delivers an easy snob appeal. The spaces of Virtual Museum offer unreal behind-the-scenes glimpses that, nonetheless, are likewise completely exclusive in that no one can actually go there.
Virtual Museum
   
019
 
027
   
040
   
058
1968.09.06
1968. Friday, Cadaqués
"...I see nothing current that could be put in the 'recent' end of the gallery," says Marcel thanking Simon Watson Taylor for the invitation to participate in the Apollinaire Festival, which he is organizing at the Institute of Contemporary Arts, London.
Ephemerides
1952.09.06
1952. Saturday, New York City
"I wrote to Walter [Arensberg] telling him that I would be delighted to restore the back of the King and the Queen," writes Duchamp belatedly [21.8.1952] to Fiske Kimball, "Is the picture in Philadelphia?" he enquires, suggesting to go one day to see the condition of Le Paradis [9.10.1912], the picture in question.
Ephemerides
1947.09.06
1947. Saturday, New York City
At eight Marcel takes Stefi Kiesler to dinner at the Café Royal.
Ephemerides
1935.09.06
1935. Friday, Paris
After sending Miss Dreier a set of Rotoreliefs [30.8.1935] Dee then writes to say that his invention for the Concours Lepine "is a complete failure commercially speaking", but he has decided to have it copyrighted in the United States, "hoping to sell a few there,"
Dee is sorry that Miss Dreier has returned his Colonne sans fin by Brancusi to George Of's storage, "I wish you would like it enough to place it somewhere in your house and enjoy it," he tells her, "If you don't wire I will understand that you have asked Of to bring it again to Redding,"
Thanking her for the offer of her studio in New York, Dee replies: "I don't think I can go for the moment," and referring to the reconstruction of the Large Glass, broken in transit after the exhibition at Brooklyn [19.11.1926]: "We will have to wait for the good weather again, in order to work at the glass,"
Ephemerides
|