2026.03.08
made by David Hare @hare_on_fire
The original Nine Malic Moulds, made in 1914–15, was composed of oil painted onto sheet lead, with lead wire, sandwiched between two sheets of glass. The Norton Simon Museum’s version was made in 1963 for the Pasadena Art Museum retrospective, under the artist’s supervision.
www.nortonsimon.org/art/detail/P.1963.38
2025.03.08
451 Rhawn Gallery
 
(whose?) Self Portrait
2023.03.08
From The Discovery of Piranesi's Final Project
8 March 2023 Wednesday
JP and I talked about "control of the narrative." Well, I did most of the talking while JP listened, asked for clarifications, and raised questions. I was trying to verbally formulate my feelings of how culture has changed and how much of the 'fighting' going on is for "control of the narrative."
My mind started going down this path after reading (and thinking about) Michael J. Lewis's "Trashing the President's House" essay, where, in many ways, the underlying lament is for having lost a control of the narrative. My assessment now is that the President's House: Freedom and Slavery in the Making of New Nation is an adroit design aptly reflecting the consequences of a founding based on core and malevolent double standards.
2019.03.08
2018.03.08
2003.03.08
Re: The Mourning After: A Roundtable
Found On Being Blue by William Gass at Joseph Fox Bookstore late 1982. Really liked the book. This led to Gass's The World Within the Word, which led to Selected Writings of Gertrude Stein. "Tender Buttons" and all that other great art stuff. She collected artists (when they were still cheap).
Does anyone else know about the "pussy" joke she played on Hemingway as Hemingway describes in A Moveable Feast?
Acquiescence yes. But is it just acquiescence, or is it watchful acquiescence?
2000.03.08
more reenactment ideas
There is a very interesting comparison reenactment between the buildings of Ludwig II of Bavaria and the Pitcairn buildings (houses and church) at Bryn Athyn. Both sets of buildings represent firm reenactments, very real theme parks albeit not fake.
image play
1963.03.08
1963. Friday, New York City
"We are very sorry that the change of dates makes it quite impossible for us to go to Pasadena for the opening as we leave N.Y. on May 15th," writes Duchamp to Walter Hopps who needs to postpone the opening until 11 June on account of obtaining loans from Philadelphia.
Regarding Hopps' proposal to make some facsimiles for the exhibition with David Hare's collaboration, Duchamp agrees to four copies of 9 Moules Mâlic [19.1.1915]: one each for Pasadena, Yale, Stockholm and himself. He agrees in principle to the same proposition for 3 Stoppages Etalon [19.5.1914], "yet we would have to discuss the method," writes Duchamp, "since the threads are not covered by glass in the original The canvas support of the threads is pasted on glass and also the three rulers made of wood, if only photographed, could not be called 'facsimile'." Concerning the Rotoreliefs [30.8.1935]. Duchamp explains that he has already started an edition himself which has a black background with a motor for the discs. And finally Duchamp is against making a facsimile of the small glass, A regarder d'un Œil, de près, pendant presque une Heure [4.4.1919], on account of the important breaks which cannot be satisfactorily reproduced."
Ephemerides
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