2026.06.05
xxxx
List of unbekannt works within Duchamp after Unbekannt
260. zero four four
261. by the pool
262. 93060102.db ignudi left
263. 93060103.db ignudi right
264. mostly behind a piece of the Berlin Wall
265. "One sings, the other doesn't"--the movie remake
266. Crack Scam 012
267. Crack Scam 013
268. a quickly abandoned portrait of myself and a specific other, circa spring 1990
269. Double Take: Regal Gene-Splicing, etc.
270. page painting 172
271. zero four five
272. Fathers and Fathers' Father
273. Winning
274. Growing Pains
275. Self Portrait IV
276. a little game of 'before and after' Unbekannt
277. page painting 173
278. zero four seven
279. Genetic Engineering 005
280. One Artist/Name Apposing Another Name/Artist
281. Fashion Statement 008
282. page painting 174
283. organic sculpture exhibition
284. zero nine eight
285. zero nine nine
286. Taken Literally
287. Crush Money 6
288. Lauf's Forbidden Cremaster Collection
289. Critics Abuzz
290. untitled venue
291. OTTOBER 28
292. going crackers 001
293. going crackers 002
294. The Bachelors Eighty Years After
295. going crackers 003
296. going crackers 004
297. going crackers 005
298. going crackers 006
299. going crackers 007
2025.06.05
451 Rhawn Gallery
Genetic Engineering 005
One Artist/Name Apposing Another Name/Artist
Fashion Statement 008
2024.06.05
a work within This One's for George
page painting 174
Pennypack Park
organic sculpture exhibition
organic sculpture exhibition
Shady Lane
2018.06.05
zero nine eight
zero nine nine
2004.06.05
Best book of last year and best book of all time
Mann's Joseph and His Brothers is much better than The Magic Mountain. Liked The Holy Sinner too.
The short stories of Heinrich von Kleist are likewise worthwhile, e.g., Michael Kohlhaas.
Am I the only architect to have read Merrill's The Changing Light at Sandover?
Butler's Lives of the Saints is much more entertaining than the mediocre Da Vinci Code.
Anyone else read The Geometry of Love?
2003.06.05
Re: Anthony Vidler on Gordon Matta-Clark
What is still missing from the ongoing evaluation/analysis of Matta-Clark's work is the realization that he often manifests a/the metabolic imagination, i.e., an oeuvre comprising creative/destructive duality.
Re: Anthony Vidler on Gordon Matta-Clark
I spent an October 1994 weekend in Vidler's NYC/Chelsea studio apartment (a very restrictive space), while a large painting of mine, Taken Literally, spent over two years there--a close friend of mine sublet the place when Vidler first started teaching in LA. Vidler spent at least one week living with the painting himself, and I've often wondered if he got all the art and architectural references within the painting. There's even a sliced portion of a building, but I didn't know of Matta-Clark back then.
Vidler is/was a very good critical (architectural) historian. I've learned much from his writing, especially from the 1970s and 1980s. He starts missing the mark, however, within The Architectural Uncanny, e.g., within "Losing Face," and much of Warped Space manifests an ideological force-fit.
Stephen Lauf Taken Literally 1993.03.16
1998..06.05
virtual place
It is perhaps the pervasive and very reliable archival and repository nature of virtual place that makes it at an advantage over real place. It could be described as an historian's dream come true in that all transactions and data creation and transmittals are recorded in time. Time and its immediate connection to action is one of the supreme (if not the supreme) features of virtual place in cyberspace.
1984.06.05
detail of 2 = odd, Dick
1968.06.05
1968. Wednesday, London
"Ambling into the new I.C.A... [Duchamp] picks his way through the overflowing audience, and for two and a half hours listened with total composure to Mr. Schwarz's high-pressure hypothesizing..."
"Credited with all manner of vagrant fancies and subterranean implications (beyond, of course, those that he himself has already thesaurized) [Duchamp] gazed into the middle distance," observed John Russell, the art critic of the Sunday Times. "Was the violin, as Mr Schwarz asserted, a symbol of onanism rather than a valuable component in family chamber music? Duchamp gazed on."
Later at supper, when he meets Arturo Schwarz, Duchamp explains: "Capital! I couldn't hear a word, but I enjoyed it very much." Teeny Duchamp and close friends, however, are deeply shocked by Schwarz's analysis of the Large Glass [5.2.1923], which is based on the hypothesis of Duchamp's incest with his sister Suzanne.
Ephemerides
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