VERSE:
Fandel, John
made, barely-made, unseen, unseeable But Duchamp is not a prophet or theo- life of art finally subverts the institution and unspeakable objects. Not the Mona logian with a...
...Of course, they were seen but mons...
...It produces everything from the on view in a museum...
...In contrast, the objects in life of dealing and doing that the mu- this remark and he steadfastly averred the Museum of Modern Art come from seum reduces to merely being seen...
...Apollinaire said what was important about them was a graceful decorous mausoleum...
...What Hindu temple, the writing table of a Duchamp is the grand heresiarch of he produced when collected cannot Chinese scholar...
...You show me all I ought to know, and might...
...And neither should the painting is not that it uses paints and As Octavio Paz remarks: "Duchamp Van der Weyden altar piece or the appeals to the eye, it is that it accepts is against the Museum, not against the Bruges Madonna...
...In a sense Apollinaire may recent past has been defined by an as- the seen significant...
...He gives us life which the bourgeois, museum-oribeauties of impressionism, to modern things we cannot view...
...Not the Mona logian with a system...
...So, Duchamp re- have hit upon a truth...
...These are JOHN FANDEL the ideas which accompany the seen ADDRESS object...
...And, depending Despite the tasteful mounting they re- relation between art and life...
...These ob- only suggest that more is needed than Contemplating the destruction of art jects shouldn't be in a museum...
...The ideas in "The in Fairmount Park, it would be a wonLisa but a postcard litho of the same Green Box" are mere fragments which derful place in which to roller skate...
...The trouble with retinal museums is not a barbarian gesture...
...actual exhibit and wandering the halls genius, a prophet, a saint-Duchamp Duchamp actively non-produced given over to the other displaced ob- preferred to be merely a breather...
...The real effect of that as a completed gesture...
...against the `collection,' not the Duchamp exhibit may well come, art's sake in the nineteenth and twen- against an art which is founded on as it came for me, after leaving the tieth century has made the artist a life...
...It is the proper loca- nas, and when Art offers herself as the mind, not to the eye...
...It is a marvelous gesture for the Holy Mother, Duchamp suggests "the Stripped Bare by her Bachelors, Even" Philadelphians to harbor this French bride stripped bare by her bachelors, is not only unseen in the sense that the saboteur...
...The long ago that Duchamp would restore what was unseen-a life, a worship, collection's totems and pots, paintings the proper relation between art and a family pride in which they lived and and porcelain all emerged from a total life...
...Almost nothing in the the religion of culture...
...The Bride tion...
...But can a museum be more than and erotic fantasy...
...His friends, the Arens- life must save itself and then find an to "retinal painting" which he saw com- bergs, dutifully bought up what they art to proclaim that salvation...
...Art for Cathedral...
...intricate shapes swim in spaces of invisible glass, there is also a box of notes 0 0 0 0 0 0 0 0 0 0 0 000 that are supposed to be riffled through while looking at the work...
...This is Duchamp's way of saying that as the altarpiece existed in a Ah, sprouter, greenly inching, strongly slight, life of unseen ideas, so with the glass...
...the problem is not a problem of art to the gallery dealer and the museum Duchamp was extremely interested and the artist, it is a problem of life...
...he gives us ented, art-for-art's-sake culture suggests...
...rect, again...
...5 April 1974: 112...
...Museums are really be seen, the works when seen bulk of the Philadelphia Museum's after all "temples of culture" for many cannot be contained in the "retinal" collection was made to be seen any who find the other churches full of act, they keep escaping into their dubimore than the urinal was made to be distasteful plaster saints and plastic ser- ous past, low taste, jumbles of ideas seen...
...Certainly Dusumed aesthetic of art for the sake of minds us that art lives beyond what is champ disliked the whole divorce from art...
...activity can prove so effective...
...Here is an altar screen, there a viewer, "-it is not even as good as scending a Staircase" before all this infamily portrait, there a piece of a God...
...If his vision of the invisible even...
...No, that on whether you prefer Marx right side fuse to be objects of art just as the is not the gesture for the artist which up or on his head, the economics of the crucifix in the medieval gallery should is what Duchamp finally remains...
...Cor- mtets the eye...
...But restore for museum life alone...
...painters of the Renaissance...
...Modern art until the very -on the beliefs and deeds that made his mind...
...If art art market have followed in perfect also refuse the museum-mortician's and life are not properly related today parallel a life for art objects confined smothering politeness...
...post-painterly abstraction which seems things like urinals and snow shovels He admired with nostalgia the religious both in style and size to be destined that drag their real life with them...
...that Apollinaire was a bit 'lightheaded a period when art was intended only Past art has lived on what was unseen and would say anything that came into to be seen...
...Duchamp was often asked about functioned...
...in seeing that his works were preserved One does not save life through art, Duchamp often stated his opposition and collected...
...with a penciled mustache...
...curator...
...Twening to the fore with Courbet, He could and donated it all permanently tieth century life creates no Madonwanted a painting which appealed to to Philadelphia...
...Art works of art-a difficult gesture, one jects which make up a museum collec- as religion," Duchamp said to an inter- must be the creator of "Nude Detion...
Vol. 100 • April 1974 • No. 5
