2026.02.01
While looking through my collection of Duchamp ephemera for an image of Bottlerack, I was surprised to (also) find an image of Bamberger's Window Display. The Bottlerack image is to assist in the creation of a 3-dimensional computer model of the eponymous readymade.
 
Bamberger's Window Display is on a page from the November 2011 issue of Art in America magazine, an illustration within an article on Robert Rauschenberg. I'm assuming the rest of the article's pages are within my collection of Rauschenberg ephemera (which I haven't been able to locate as of yet).
2023.02.01
16:25
2009.02.01
Venturi's Lieb House (No. 9) to be moved (or demolished)
2009.01.29
2009.01.30
Venturi's Lieb House (No. 9) to be moved (or demolished)
Gordon loves it even more like that.
As does Aldo.
architectures in the space-time continuum
2005.02.01
Epic 2014/Googlezon
"In the future, everything will be an advertisement."
Epic 2014/Googlezon
Product placement is a very interesting phenomenon. I especially like it when most people don't even recognize it, like how "the news" is more and more just product placement. Oprah's completely product placement. And don't even get me started about Disney!
Funny, when an individual 'places' their own work for others to 'consume', that's looked at with distaste. Is it that deep down most people really want giant corporations to control it all?
Re: ART AND MONEY
Bildhauerisch
taster's choice
the beuys next door
Bist du so dumm?
computer = Computer
cocktail = Cocktail
cowboy = Cowboy
etc. = geh weider!
2004.02.01
not exactly a postcard, but...
...an email from Bavaria last night is even better. News from Johannes, the present Baron von Ow, included the happy birth of Max, the now most recent descendent of Philippe le Beau. After sixty years, my mother will be speaking again with Johannes and his sister Monika soon.
Otto is now looking even more forward to Ludwig's postcards from the gang at Koenig Ludwig Lauf. Ludwig spends this weekend composing these 8x10 collages, writes all kinds of funny stuff about the gang on the back, and then sends them via 1913s or so Bavarian post. Otto loves these things because Ludwig hasn't at all lost his odd touch.
Chop Suzy
Swoosh
2002.02.01
Re: (another) map
I am not opposed to your introduction here of the word/concept appose. Certain definitional phrases in Webster's Third International Dictionary (1969) for appose and apposition provide the solidity of your case:
apply (one thing) to another
deposition of successive layers upon those already present (as in cell walls)
When Nero reenacted the Triumphal Way, he did it with much apposition, probably even controversial apposition (but I doubt anyone opposed). He changed the traditional route, had elephants breaking down part of the city wall, you know, the basic kinds of stuff that Nero is (in)famous for.
The concept of appropriation is very much utilized by artists, and perhaps even more by art historians when they analyze a lot of contemporary art. I don't recall having previously read about the concept of apposition relative to art, and to the activity of artists, till your letters here. As far as I'm concerned, you may have introduced something original, or you may have introduced the concept by actually utilizing the concept itself via your introduction, meaning you may have apposed someone else's prior introduction of the concept of apposition relative to art. In either case, what you write has a refreshing truth to it.
My own artistic oeuvre falls largely within the realm of appropriation, but now I see that much of the same artwork works even better within the realm of apposition. While you may not know it, although many here do know it, www.museumpeace.com is named for a truly appositional work of art, a bentwood Gehry chair that I painted over (in 1999) with acrylic and gesso in a slapdash manner. Museumpeace [the rare, one-of-a-kind chair] does not appropriate Gehry, rather it apposes Gehry. For appositional [Lauf] art see Trophy Tattoo. I uploaded these images as part of "Theatrics Times Two, too" yesterday--something I've been meaning to do for a few weeks now. Not until I read your last letter this morning, actually not until writing this letter now did I realize the correctly defined nature of these works. Thanks.
1954.02.01
1954. Monday, New York City
Duchamp replies to Elizabeth Wrigley's cable [29.1.1954] saying that he "did not know Walter was so far gone and always hoped he would somehow overcome his grief". He offers Mrs Wrigley his assistance in carrying out Arensberg's last decisions about Philadelphia [22.1.1954].
Ephemerides
|