Food Stuff Consumption And Miscellany

Monday, June 25, 2007

2 lg coffees (light/sweet)
1 toasted raisin bagel with cream cheese
lg coffee (light/sweet)
1 apple
1 peanut butter/grape jelly/nacho cheese chips on whole wheat bread sandwich
1 bag of nacho cheese tortilla chips (net wt. 1 oz.)
1 brownie
1 peanut butter/grape jelly/bbq potato chips on whole wheat bread sandwich
1 bag of bbq potato chips (net wt. 1 oz.)
1 brownie
1 apple
bottle of water (16.9 fl.oz.)
3 slices of pepperoni pizza
1 slice of cheese pizza
1 sausage dog (plain)
1/2 pack of cigarettes

Short Silent Documentary (3 parts)

More Duchamp:

Found one copy of Duchamp's "Manual of instructions for Etant donnes" plus two different editions of supplementary material (Philadelphia Museum of Art Bulletin) at the Free Library of Philadelphia (art department/reference section)

Personal Author: Duchamp, Marcel, 1887-1968.

Title: Manuel of instructions for Marcel Duchamp Etant donnes: Given: 1. the waterfall, 2. the illuminating gas.

Publication Information: Philadelphia, Philadelphia Museum of Art [1969]

General Note: Title sheet in English, manual in French. On spine: Etant donnes. A reproduction of the pages of the original ring binder

Library: Central Library

Call Number: 709.24 D856M F

1 copy

Material: AREFERENCE

Location: Bookstacks


Personal Author: D'Harnoncourt, Anne, 1943-

Title: Etant donnes; reflections on a new work by Marcel Duchamp

General Note: At head of title: Bulletin, Philadelphia Museum of Art. Originally issued as as v. 14, no. 299-300 of the Bulletin

Personal Subject: Duchamp, Marcel, 1887-1968. Given: 1. the waterfall, 2. the illuminating gas.

Added Author: Hopps, Walter

Added Author: Philadelphia Musuem of Art

Library: Central Library

Call Number: 735.44 D856d

Material: AREFERENCE

Location: Bookstacks


Personal Author: D'Harmoncourt, Anne, 1943

Title: Etant donnes; reflections on a new work by Marcel Duchamp

General Note: "Second reprint of the Philadelphia Museum of Art Bulletin, volume LXIV, Numbers 299 and 300, April-September 1969, with the 1973 afterward by Anne D'Harnoncorut."

Personal Subject: Duchamp, Marcel, 1887-1968

Added Author: Hopps, Walter

Added Author: Philadelphia Museum of Art

Uniform Title: Bulletin (Philadelphia Museum of Art)

Library: Central Library

Call Number: 709.24 D856D3 STACK REFERENCE

Copies: 1



Etant donnes: 1. La chute d'eau 2. Le gaz d'eclairage (Given: 1. The Waterfall 2. The Illuminating Gas)

Duchamp died in 1968 but his final work was yet to be revealed. He had worked on it with two accomplices in absolute secrecy and had subtitled it: "Collapsible mock-up made between 1946 and 1966 in New York with scope for ad-libbing during assembly and disassembly." In 1969 Etant donnes was installed using his instruction manuel (an intregal part of the work, of course) in the Philadelphia Museum of Art, which was then home also to Large Glass (still there) and other works.

Etant donnes stands in a bare room. As you approach this dead end you'll see a large wooden door set in an arch of brick. The door cannot be opened but there are two small holes at eye level, which invite closer inspection. A dark space opens through a roughly hewn hole in a brick wall onto a brilliantly lit landscape with a figure of a woman in the foreground, prone, naked and with legs splayed towards the viewer. The figure is a palpable thing in real space—a three dimensional sculpture, like many of Duchamp’s works—but this one is for the eyes only and only from this viewpoint—the work is not available to any alternative means of access. Dawn Ades offers the following description:

The two small holes, allowing natural bifocal looking rather than the single viewpoint that would be allowed by a keyhole, gives visual access onto further openings. The rough hole in the brick wall is separated from the door by a short dark passage (lined in black velvet), through which the nude is seen, lying on a bed of twigs. Her head is hidden by the edge of the brick wall, and the spectator’s first instinct is to shift position to try, in vain, to see the whole figure.

One of the features of this work is that it subverts the conditions described by Walter Benjamin in “The Work of Art in the Age of Mechanical Reproduction.” Here is a work that simply cannot be reproduced technically. If you want to view it you must go to Philadelphia. The artwork, taken as a whole, is an experience that cannot be achieved with out a single and present observer—viewing it is part of the action comprising the work—one looks through two holes and then on through another. Duchamp has argued that the work of art is not performed by the artist alone: “All in all, the creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.” There is a feeling of paradox in this, however, given that “given” does not exploit the spectator’s creative capacities in any active or direct way but rather positions the spectator, whose “act” the work engages.

above info via: http://courses.nus.edu.sg/course/elljwp/duchamp.htm


Duchamp reference info and link graciously/patiently provided by Librarian (afternoon-evening shift) from Free Library of Philadelphia (Art Department), who requested no mention of herself on this blog stating, "It's my job." editor's note: she went beyond the call of duty.