MURDER, POLITICS, AND THE END OF THE JAZZ AGE
by Michael Wolraich
Order today at Barnes & Noble / Amazon / Books-A-Million / Bookshop
MURDER, POLITICS, AND THE END OF THE JAZZ AGE by Michael Wolraich Order today at Barnes & Noble / Amazon / Books-A-Million / Bookshop |
In architecture school, we students eventually realized that even though Architecture was based on timeless and universal truths, some of the professors were in opposing camps. The group that we first encountered seemed to like the principles of Robert Venturi, and his partners, and Charles Moore, and his partners, and the writings of Christopher Alexander. We were assigned to read Venturi's book, Complexity and Contradiction in Architecture, and we built models of cheap grey chip board.
In later years, we had professors that were more excited by the work of Mario Gandelsonas, and Aldo Rossi and the stars of a portfolio book called Five Architects - Eisenman, Graves, Gwathmey, Hejduk, and Meier. We pored over the writings of Manfredo Tafuri in the slick red Architectural magazine, Oppositions. We found it wiser to build models out of expensive white, foam-core board. Not surprisingly one camp was called the greys and the other the whites.
In our Semiotics class, we argued about how much work was required to produce Art. Some of us felt that some submissions were long on theory but short on practicality. One fellow insisted intention determined art. "If I go to the bathroom, that's art." Decades earlier, Marcel Duchamp had written R. Mutt 1917 on a urinal, and submitted it as a work of art called Fountain. Dadaists defended it as art:
Whether Mr Mutt made the fountain with his own hands or not has no importance. He CHOSE it. He took an article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object.
According to a poll of artists, Fountain is now considered the most influential artistic work of all time.
Here in Baltimore, a colorful local character called Shorty found an old toilet, papered it over with news articles, a transmitter and a cell phone, and left it on a city lawn. He also left a bedpost in front of a local prayer garden, then posted about it on Facebook.
Say if you have a problem, give it to GOD. Well we gonna see what the Catholic Church does for Shorty. New Plamsist closed the doors of the Church on me because I named Con Cummings as a Judas. And just like Moses I'm marking the Doors of the people and I asking to give up my citizenship. Don't want to live in a Country of White Justice and Black Justice while you promote equality across the Airwaves. Get Shorty. Well Maryland you got more of me than you really want to deal with. This is a REAL GHETTO STORY.
But Shorty raised the wrong sort of stir:
The discovery of the toilet outside the former courthouse — which now houses the County Council chambers and some of the county's administrative offices — triggered a shutdown of surrounding streets and the attentions of a bomb disposal squad. It was found to be harmless.
According to the Sun, Shorty aka Duane Davis is now in jail in lieu of $200,000 bond, charged with leaving a fake destructive device and making false statements. On his show tonight Marc Steiner said Shorty used to own a great place to get ribs, and has a history of political statements. But he's in good artistic company.
Comments
A case of suffering for one's art?
by LisB on Tue, 02/08/2011 - 10:02pm
I once planted petunias in an old ceramic bedpan and hung it beside the door of the garden shed. Does this make me an outsider artist? Or just a gardener that ran out of pots?
by wabby on Tue, 02/08/2011 - 11:09pm
I think this qualifies you as being a true flower child, really. Not that we ever had any doubts.
by LisB on Tue, 02/08/2011 - 11:16pm
I was very tempted to add something about having a pot to piss in, but decided I'm too broke to make such puns. Heh.
by LisB on Tue, 02/08/2011 - 11:17pm
Baby, baby, baby...
by jollyroger on Tue, 02/08/2011 - 11:22pm
Just had to peek, and there you were!
by jollyroger on Tue, 02/08/2011 - 11:23pm
http://www.youtube.com/watch?v=_DM-2Ook4H0
Yup, here I be. And why are you peeking at me...baby baby baby?
by LisB on Tue, 02/08/2011 - 11:44pm
Checking for underwear...?
by jollyroger on Tue, 02/08/2011 - 11:48pm
Phhht. As if.
by LisB on Tue, 02/08/2011 - 11:51pm
(open moan) going back to work now (close moan)
by jollyroger on Tue, 02/08/2011 - 11:53pm
$200,000 bond...
Talk about not knowing how to take a joke!
by jollyroger on Tue, 02/08/2011 - 11:26pm
In a few weeks, no one could understand why the grass grew out faster and darker green, spelling out FU*K ( except my friend and his cronies). It was the gift that kept on giving, because even mowing didn't hide it! Now, that's ART!
by CVille Dem on Wed, 02/09/2011 - 2:09pm
As odd as it sounds, Duchamp probably was the most influential artist of the 20th century. Twenty years ago last Summer, I wrote and performed a one-person play about art. It was meant to be a spoof of performance art and offered the premise that Marcel DuChamp's notion that Art was Art because they artist says so, or in other words, that context was more important than content, had been so embraced that it now applied not just to Art, but to every aspect of society. The world now runs on the notion that content is irrelevent and that context, or how you hold something, is everything. (According to the play, the others responsible for ushering in this idea were David Sarnoff, D.W. Griffith and the unsinkable Molly Brown.) DuChamp's 'readymades' definitely changed how we look at art and, I dare say, how we look at everyday objects. In 1915, no-one would have considered a snow shovel to be a piece of art, until DuChamp put it on a wall and labeled it, "In advance of a broken arm." Now, it's in MOMA: http://www.moma.org/modernteachers/ref_pages/set_scene_pics/mai8_img2.html
In my play, the theatre's stage had been covered with 200 pounds of sweeping compound, and while I rambled on, I swept. That was the most ludicrous performance art I could come up with, as everything else I thought of had already actually been done. (The audience was given coffee scoops upon entering and at the end of the show, after making the case for the importance of content, they were given an opportunity to scoop up some of the sweeping compound and place it back into a barrel marked "Content". It's a play I only performed once, but it remains one that's dear to my heart. At the risk of totally losing my anonymity here, if anyone is interested in reading it, I've posted it on my website. Of course, keep in mind, it was written before the internet craze and Facebook and would need a lot of updating and re-writing if it was ever to be done again. But in the context of 1990-91 ...
http://www.spondyville.com/Page106BYCCMA.html
by MrSmith1 on Wed, 02/09/2011 - 11:00pm
Picabia, Ohio, eh?
You might find something of interest in this relatively recent scholarship:
http://www.tate.org.uk/tateetc/issue12/unholytrinity.htm
Lots of wackydada factoids there. (Probably many more of those in Marcade's 2007 bio., unfortunately it's in French and my French reading skills, tho ok, are not of the level to navigate that specific topic...)
by artappraiser on Thu, 02/10/2011 - 12:08am
Thanks for the link! Great stuff. When I lived in Long Island City, I had a neighbor who had been a photographer for Look magazine. His name was Tony Vaccaro. He had met DuChamp and when I moved away he gave me a print of the wonderful photograph he had taken of him for the magazine. He also told me that DuChamp had given him some 'disks'. When he showed them to me, (they were still in their original envelope), I had to inform him that these 'disks' were actually a rare complete set of rotoreliefs (in mint condition) from the original 30's printing and were probably worth quite a lot. He had no idea of their value and had simply come up to show them to me and play them on my record player so we could see the optical illusions.
by MrSmith1 on Thu, 02/10/2011 - 12:37am
Vaccaro is well known, especially for his WWII photos. But in his post WWII career, I know he did some photo shoots for Look or one of the other major magazines, of other major artists, including Picasso, Georgia O'Keefe and Jackson Pollack and Lee Krasner. I am sure you can find a lot on him if you do a search on google images, including sites that talk about his work.
Easily meeting people like him (and same for him meeting Duchamp) is one of the best things about living in NYC, mho.
If his Duchamp rotoreliefs were the 1965 Milan reproduction edition, mentioned at the end here, as multiples they were a valuable gift years ago but not crazy valuable, the type of thing an artist would give as a gfit. Here's one 2009 sales record for that edition, comparatively low for Duchamp values:
Auction House: Stockholm Auktionsverk
Date 03/11/2009, Lot 78
Artist: Marcel Duchamp
Title: Rotoreliefs
15.75" x 15.75"
Object with electric assemblage and a set of twelve discs,
Inscribed and Signed, Date: 1965
Low Est.: $9,048 (S.80,000)
High Est.: $11,310 (S.100,000)
Hammer Price: $42,980 (S.380,000)
by artappraiser on Thu, 02/10/2011 - 1:38am
Yes, that's him. His WWII photos are wonderful. At the time, he was often getting invited to Europe for the 50th anniversary celebrations. There were even calendars made of his WWII photos. Tony had a huge blow-up of his Georgia O'Keefe photo hanging in his apt.
And I totally agree that being able to get to know and interact with people like Tony is one of the joys of living in NYC. Everyone has an interesting backstory if you just take the time to talk to them.
Tony's rotoreliefs were not the replicas made up in 1953, as Tony said he photographed DuChamp in 1951, so I assumed that meant they were from the set made in 1935.
by MrSmith1 on Thu, 02/10/2011 - 2:29am
We received this comment via email:
My name is Rob Fiks, and this letter is in response to the printed articles on "Shorty" Duane G. Davis. I'm a former Towson University Electronic Media and Film graduate currently working in the film/television industry in the DC/Baltimore metropolitan areas.
I met Shorty four years ago while I was scouting locations for a short I was filming. I found his country ridge store on Falls Road. I began my spiel, but before I finished Shorty said that I could film at his store for free. An instant connection was made. He saw potential in me and chose to support my art, for which I am still grateful and flattered.
A few weeks later Shorty called to tell me that his son was shot and killed in Illinois under unusual circumstances. I started filming a documentary about Shorty for my final semester in the spring of 2007. What started out as a short project for my documentary class, has turned into an ambitious film about Shorty’s life. The documentary is still a work in progress. After these many years, I am confident when I say that I know Shorty.
In regards to the printed articles about the Towson toilet bomb scare although the circumstances were unusual, I can unequivocally state that Shorty is not a terrorist – by any definition or stretch of the imagination. Shorty’s efforts in the community often get overlooked. He is community-oriented, with a good heart and means well.
Whatever names Shorty may be called, I will be the first to defend him in saying that he is a very outspoken individual whose words get misconstrued. There is more to Shorty than meets the eye, and it’s important to keep an open mind. This gets lost in his Facebook statuses. Shorty is not a Jared Loughner. One of my greatest pleasures in life is to drive up Falls Road on a warm spring day to buy some barbeque, and visit and talk with Shorty.
Thank you for considering this brief letter in support of Shorty, and hope that you might consider the contents in future articles regarding Shorty.
by Donal on Wed, 02/16/2011 - 7:01pm