occupy earth, rog walker - bushwick 2013
Ludwig Wittgenstein, Wittgenstein House Doors (Transition Between Salon and Sitting Rom/Bedroom), (1926-1928)
In Wittgenstein’s Architecture transitions are just as significant as those in music or choreography. How materials, colors, surfaces, and spaces are delineated, come together, relate to each other, and merge. With the doors, Wittgenstein masters an intricate game of varying the interconception of spaces. Metal closes off, while translucence alludes to something beyond. Transparent glass is inviting. Transitions, in their material nature are like metaphors of movement. The most unusual transition in the Wittgenstein House is the pair of double doors between salon and sitting/bedroom. By nature of their materiality they are a rare connection between open (glass) and closed (metal). When in use this pair of double doors offers numerous variants for Margarethe Stonborough’s private living area between invitingly open and reclusively closed. When the metal leaves are closed, the salon is visually integrated into the more intimate area. A single closed metal leaf signifies something else again. An open single glass leaf is like an open approach whereas when both doors are open, salon and sitting room/bedroom merge, creating one space bound together by two identical window-doors in either space.
DAILY PIC: Warhol made this silkscreen portrait of the great art patron Dominique de Menil in 1968, and it’s now hanging in “Alexander the Great”, a show that pays tribute to the dealer Alexander Iolas that’s at Paul Kasmin Gallery in New York. The portrait is important because it’s one of the earlier traces of Warhol’s switch from his 1960s mode, which had him functioning as a classic maker of novel art objects, to the mode of his later career, where fame – his own, or of the celebrity sitters he portrayed – became his new art supply.
1968 is also the year where Warhol’s ubiquitous quote about celebrity, “In the future, everybody will be world-famous for 15 minutes”, starts to spread widely – even though I’ve discovered that there’s almost zero evidence that the words ever came out of his mouth. I discuss Warhol’s non-quote on today’s Marketplace Morning Report, and spell out its bizarre history on my Warholiana.com Web site.
It’s worth pointing out that the early De Menil portrait is less fame-centric than Warhol’s later ones. It still claims to present a real person’s spirit, in the way Titian or van Dyke might have done, whereas in later works portraiture seems to abandon psychology in favor of pure public persona. (© 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York)