Research Paper                                 

I.   Introduction

The purpose of this paper is to contextualize self portraits created during MCP 501 via conceptual relationships to three artists’ works. As framework for the self portraits is the project title, Self Portrait of a Female with Epilepsy and research question: how the experiences of women with Epilepsy can be visually depicted today via the self portrait in a way that references historical and contemporary understanding of the disorder throughout the world; widens the viewer’s understanding of Epilepsy; engages the viewer in consideration of disorders personally experienced, hidden or revealed; and how through emotional engagement the viewer’s self image is affected.

I will address the following artworks individually, in relation to each other, and relevant to the self portraits.

            The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), Marcel Duchamp, 1915-1923 [Appendix 1]

            Untitled, Agnes Martin, 1956-57 [Appendix 2]

            ghost...a border act, Ann Hamilton, 2000 [Appendix 3]  

To conclude, I will confront questions and possibilities arising from this contextualization for further exploration in my research and studio work.

II.    Statement of Research Question

Epilepsy, a brain disorder, is a highly individualized experience; common causes and triggers such as injury, genetics, or infections of known and unknown origin exist, but no two people share the same experience (Schachter and Andermann 49).

“Because of the complexity of the brain, epilepsy, to an extent like no other disease, is about individuals:  each seizure experience is unique, and each person is touched by it in very different ways” (Bazil 12).

The emotions raised by the disorder, feelings of control or lack of control of the self and beyond, combined with personal and societal misunderstanding and confusion of Epilepsy, exert significant costs on the individual and the group personally, professionally and financially (Schachtner and Andermann 2).

These costs are applicable to both sexes and inclusive of all genders globally across all socio-economic groups. It is the specifics and the degree of impact of these factors which may differ radically between sex, gender and socio-economic status. Yet these differences are not too great as to lessen the ability to understand the general emotional impact on the individual through expression in an artistic practice. Just as art is experienced both from a personal and general perspective, so too is Epilepsy.

In the lower socio-economic strata of Western and non-Western societies, the impact this disorder has on the emotional lives of women has been found to be amplified via the place and role a woman occupies and fulfills when her value to the group is based upon her ability to provide financial support, reproduce, or act as a caregiver to multiple generations. Inability to fulfill expectations compromises self image, how she values her own life, and is compounded by a lack of education and understanding (Schachter, Krishnamurthy and Combs Cantrell xv).

The ability to address both cause and treatment of Epilepsy from a financial viewpoint varies, and may lessen or intensify the impact of the disorder (Schachtner and Andermann 5).

Historically Epilepsy has been a disorder that people have tried to hide (Temkin 255-277).  From the mid-nineteenth to mid-twentieth century the disorder was at times exploited by the medical establishment representing society. This resulted from a power struggle between society’s attempt to control the feminine via institutionalization, medical classification of the female as a condition, and the female patient’s attempt to regain control of herself from her repressors via her self exertion in the hysterical-epileptic episode; thus superseding the control via classification imposed upon her by society (Didi-Huberman 115-174).

Hiding away individuals with Epilepsy either in the home or institution, or through banishment from the group still exists in non-Western and Western groups of lesser economic advantages (Schachtner and Andermann 33-47).

The past quarter century economically advantaged individuals in all societies have been able to hide the disorder by controlling seizures with anti-epileptic drugs or surgery (Bazil 95-178). Medical intervention is not without debate among those living with the disorder. It might seem illogical to not want to control something which in an uncontrolled state can be life threatening. Factors such as mortal risks, side effects and frustrations through repeated failed attempts at treatment can lead to an individual’s decision not to treat the disorder. Additionally, individuals who view Epilepsy as a key component of their self image, the choice not to treat the disorder is a choice between personal control of the self and the destruction of the self through outside forces (LaPlante 207-209).

Understanding Epilepsy as a highly individualized disorder led to applying it as framework for the research portion of my first year project.(1) For the studio portion I concluded the place to explore within this framework was the self portrait.

III.    Addressing the work of others:  Duchamp, Martin and Hamilton

The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-1923; considered until Etant Donnes his last major artwork, was conceived by Duchamp during a period of transformation and redefinition. Considering the momentous changes impacting the world and the art world during the early twentieth century, one can sense a desire for changes of equivalent magnitude sought by Duchamp. The Readymades, everyday objects selected and deemed by Duchamp to be art (Duchamp 248), originated simultaneous to The Large Glass. The Large Glass is a painting seeking to redefine painting in the way the Readymades sought to redefine art. It seems fitting to describe Duchamp, since childhood an avid chess player (Cros 9), who per legend “abandoned art in favor of chess” (Tomkins 17), and himself symbolically placed chess figures in numerous drawings and paintings from the period directly preceding this transformation (D’Harnoncourt  et. al. 247-260) (2) in a position artistically comparable to that of the knight. The first preface to the collection of his essays Knight’s Move Viktor Shklovsky draws the analogy between the art world in the first decades of the twentieth century and the form of movement constraining the knight in the chess game as follows:

“There are many reasons for the strangeness of the knight’s move, the main one being the conventionality of art, about which I am writing. The second reason lies in the fact that the knight is not free--it moves in an L-shaped manner because it is forbidden to take the straight road” (3).

Constrained by conventionality after rejection from the 1912 Salon des Independants of Nude Descending a Staircase, Nr. 2 by the Cubists as too Futurist, Duchamp was unable to travel the straight road of either tradition or avant garde. His only option, despite loose affiliation with avant garde groups throughout his life, was to move ahead like the knight, zig-zagging around the corners. Similar to the White Knight in Lewis Carroll’s Through the Looking Glass, Duchamp is a figure who foraged his path as an artist by means of his own invention (237-251). The Large Glass, like the Readymades and Etant Donnes is a zig-zagging, around the corner step by which he set course for others to follow.(3)

I want to address The Large Glass for three reasons. First, the non-traditional approach Duchamp took to the medium of painting through the use of glass, lead and other materials formed the experience of it as a transparent, two dimensional object in a three dimensional space; freeing painting not only from the canvas, but from the wall. Second, Duchamp’s careful planning and documentation of The Large Glass, its documentation in the Green Box, should be viewed as the means by which the work remained conceptually under his control. Finally, the chance occurrence of The Large Glass shattering and the concept of chance in the relationship to the viewer and to the work are important to the transformation initiated by Duchamp of how we make and view art today.

Duchamp’s approach to this painting was innovative not in his technical application of the materials, which were steeped in traditions associated with the creation of architectural elements and craft, but through his conceptual relation to these traditions and their transparent, architectural and machine-like nature. This becomes a transformative element in this piece. Transparency of the glass, the ability to view it from both sides, the reflections and shadows cast upon its hard surface by persons and objects sharing its space are means by which Duchamp transformed the experience of looking at painting. Unlike traditional oil paints applied to depict human flesh, using these industrial materials to examine and represent the intimacies of human relations and desires Duchamp transformed the experience of seeing painting. In doing so Duchamp cut the strings by which painting was bound to the academic traditions in a way that neither the Cubists nor Futurists had been able to do. They were only able to crack the picture plane before which we, the viewers stood looking; Duchamp broke through it in a way that altered our way of seeing.

Careful consideration, planning and documentation of The Large Glass speaks not only of Duchamp’s underlying interest in the intellectual development of the work, it documents his controlled approach to mapping the zig-zagging path of what was essentially intellectual and artistically unknown territories. The step he took a decade after stopping work on the piece to publish this documentation as a hand-copied artist’s edition, the Green Box, is as transformative as The Large Glass. The dissemination of the information behind its formation in this way speaks of a highly developed regard for the conceptual control of the image, applicable to both The Large Glass and the image Duchamp sought to project by sharing his version of the story behind the work.

The paradoxical relationship of chance and control within Duchamp’s oeuvre arises frequently. As controlled of a process the creation of The Large Glass told to us in the Green Box, it is a paradox how The Large Glass, a shattered object, was dependant upon a particularly chance occurrence, to achieve the form by which it has become known.

Officially dated 1915-1923, the origins of The Large Glass can be found in Duchamp’s work from 1912-1913. Begun in France, Duchamp transported studies, notes and trials of The Large Glass to New York City in 1915 where he began working on the final piece. Leaving New York for Argentina in 1918, Duchamp had completed it according to the documentation in the Green Box. It was then owned by Walter Arensberg. In Argentina Duchamp developed an additional element, the three circles from a standard oculist’s chart which he etched in the upper right side of the bottom panel upon his return to New York City. Arensberg transferred ownership of The Large Glass to Katherine Dreier in 1921; at that point Duchamp had not declared The Large Glass a finished artwork. 1923 is never cited by Duchamp as a completion date; it is simply when he decided not to work on it further.

The Large Glass was exhibited 1926 for the first time publicly in the International Exhibition of Modern Art at the Brooklyn Museum. During its return transport to Katherine Dreier’s home in Connecticut the movement from the bouncing truck caused the glass to shatter. However the damaged remained undiscovered for almost a decade when the crate was finally opened.(4)

In “The Large Glass” Richard Hamilton wrote:

“Duchamp, undismayed by the unplanned intervention of chance, reassembled the fragments in 1936, aided by the lead wire and varnish which had helped hold the pieces together” (D’Harnoncourt et. al. 67).

Describing Duchamp’s reaction as “undismayed” could help us understand his relationship to the work and its completion. Duchamp did not classify the work as destroyed, nor did he re-create it by replacing the broken glass. He did later grant others, including Hamilton, permission to replicate the work, but none of these replicate shattered glass. Does this make them true copies, or merely officially sanctioned interpretations? 1936 Duchamp carefully stabilized the glass shatters preserving not only the artwork, but its shattered state. This action could be interpreted as acceptance of the shattering as an integral part of the work’s formation by chance. It also distinguishes the original from the later copies by not allowing chance to enter their making. From the artist who showed us another way of understanding originality in art via the Readymade this is a paradox. Yet it would not be true chance to attempt to shatter the glass of the copies in order to make them ‘more’ original.

Chance is uncontrollable. How could an artist who documented in such conceptually controlled detail the inception of a work, release it to a chance occurrence that changed its physical appearance so drastically? Was it a matter of intellectual and artistic distance he had put between himself and the piece in the years between stopping work and the discovery of the shattering, combined with insight gained through the additional conceptual layer of chance in the piece and in its examination of the relationship of the bride to her bachelors? In addition to stabilizing the piece in 1936, Duchamp was actively involved in the siting and installation of The Large Glass when it was given to the Philadelphia Museum of Art in 1953 and where it remains on view. I consider both acts to be ‘further work’ on The Large Glass because both contributed significantly to how we understand and discuss the work today.

To be fully understood The Large Glass should be experienced in person. Time needs to be spent walking around, viewing it from all sides, closely examining the piece, shatters and all, in the space in which Duchamp played an active role in siting it. The light, the shadows, the movement of the people both in the gallery it occupies as well as those seen through the courtyard window it is positioned in front of, all become part of The Large Glass. Duchamp said “The onlooker is as important as the artist” (Tomkins 18). Chance occurrences happening during the viewer’s engagement with the work are what complete The Large Glass. The role of the viewer in relationship to The Large Glass is taken by Duchamp beyond that traditionally assigned. The viewer not only takes in what the piece has to offer, the viewer puts his or herself back into the piece as a means of completion via a conceptual awareness.(5) This openness in the possibility of its completion via the viewer, exceeds similar possibilities in the viewers’ traditional role. Play between control and chance, the engagement of the viewer in ways that take the painting beyond the straight paths, zig-zagging to explore the corners are relevant to The Large Glass, making it not just another piece of ‘retinal art’ in Duchamp’s parlance, but as an expression of a deeper experience of art, one that occurs not in the eye but in the mind (Tomkins 13). This goes beyond the way one would see painting prior to The Large Glass.

The second artwork I will address is Untitled, Agnes Martin, 1956-57. Contrasting The Large Glass this painting is a traditional oil on canvas painting. However conceptual approaches similar to those brought forth by Duchamp are present in this work. Untitled, like The Large Glass, originated during a period of transformation for the artist; it clearly occupies the space between Martin’s early and her mature work.(6)

Untitled has the square format, though smaller, for which Martin’s mature paintings are known. Despite the similarity of neutral tones and black, the feel of how the paint was worked compared to the paintings hung around it at Dia:Beacon(7); this painting feels out of place. The painting exudes a sense of uncertainty despite its very controlled composition. The handling of the paint is denser, less given to the chance flow of the washes Martin would apply in her mature paintings. There is even uncertainty surrounding when and where this painting was made; New Mexico or New York, 1956 or 1957?(8) Martin, like Duchamp, had an awareness of her image and how she could control its projection (Cooke et. al. 120, 172).(9) She is known to have destroyed earlier works once they did not fit the story she wanted to share with the world, including many of the paintings she produced prior to 1957.(10) Is the cultivation of uncertainty expression of this control she was known to exert? Based on the images which remain from her earlier work and the subsequent development of what is considered her mature painting, Untitled would most likely feel as equally out of place hung in a gallery with those previous works as it does in its current home. Therefore my consideration of Untitled is its contextual function in Martin’s oeuvre as a painting occupying a space of transition and transformation.

Closer formal examination of the painting reveals a deep, solid, flat black square turned on its corner to fill the space of the washy, yet un-ephemeral, grey square of the canvas forming its base. The third and final element of this compositionally simple painting is a white line, neither a Newmanesque stripe nor a proper rectangle, it bisects the center of the black square creating a symmetrical mirroring of the composition.

Another similarity between Duchamp and Martin is neither fit into the artistic categories to which the world wished to assign artists of their time. For Agnes Martin this has meant despite creating paintings that appear when viewed formally to belong to Minimalism, other factors, such as her age, her gender, the locations she chose to live and work, the galleries and other artists she was associated with, and most importantly the emotional impact of her mature paintings place her well outside this category of classification (Cooke et. al. 16). Emotions expressed through her paintings point to a closer synergy between Martin and the Abstract Expressionist painters who were her generation; and she very much considered her work in closer relationship to this group of artists than the other (Cooke et. al. 15).(11) Her painting is more valuable because it remains outside of given categories and classifications. Martin and her artwork are outliers, and similar to Duchamp, this was often expressed through periods of personal withdrawal and wandering away from actively making art (Cooke et. al. 16-17).

Untitled is significant as an outlier painting in the oeuvre of an outlier artist. It is a work existing in the gap between what came before and the work which will follow the conceptual transformation of her approach.

An even closer examination reveals the composition of Untitled to be less calm, less balanced. The space created by the not so washy grey background drops away behind the flat black square trying to break free, its corners pressed against the edge of the canvas. The black square will not recede into the grey space behind it, and it cannot push forward out of the picture plane because the white band holds it back. It is trapped in the space between. The vertical points of the black square, hidden behind the white band, might be pushing at the edges of the grey canvas like the horizontal points do, but then again, we cannot know the relationship between these intersecting points for it resides in a realm beyond what is knowledgable by simply looking. There is a struggle for control in this painting expressed both formally and conceptually, between the forms, and between the artist and the painting. The viewer is brought into this struggle through a combination of the emotional impact expressed by the formal composition which creates a tension, unease and uncertainty about information hidden, misunderstood, or simply unknown.(12)     

The final work I will address is ghost...a border act, Ann Hamilton, 2000. Unlike the other two, this work no longer has a physical presence. One can only engage with it through reviews, photos and a short video.(13) This site-specific installation created as part of a group exhibition existed for a short time.(14) Unlike other works from Hamilton, much less has been published about this piece and it did not produce object-relics or other physically related works, which Hamilton sometimes creates. The nature of ghost...a border act is temporality, resulting in limited access to it. ghost...a border act sited in a shuttered textile factory; a large space divided into two rooms of suspended organza, forming a corridor between the spaces. In each room a table on which a projector inside a zoetrope sat, projecting a video of a line being written from one and unwritten from the other onto the organza and across the space.

On the her website’s project page for ghost...a border act is posted a text from Hamilton describing the piece.(15) This poetic text, not object, and little else are what remain of ghost...a border act. It can still be experienced through these descriptions; but can it be felt? What remains of temporal work beyond the documentation of a concept once its time has passed? For Hamilton “...the act of description becomes the thing described. It is not like telling you about it, it is it”(Enright 25).

IV.    Addressing my work within the context of others

To understand my work within the context created by the work of others, the purpose of this paper, it is important to touch on points of intersection and divergence of these three artists and their works.

Starting with Marcel Duchamp and Ann Hamilton, one could argue that without the groundwork of Duchamp, the form of Hamilton’s work would not exist. Hamilton differentiates her undertakings from what she understands as “the legacy of Duchamp” in the work of others as other artists follow Duchamp by emphasis on the experience of shock and not that of wonder. She feels she is exploring the aesthetics of wonder, which encourages receptivity on part of the viewer, and is an experience we are lacking (Enright 33). When an artist  relinquishes control to chance, regardless of an emphasis or not on shock, doesn’t the entry of chance cultivate the development of wonder?

Hamilton revealed another “Duchampian” trait in her work:

“As I’m making projects, I’m caught within the details, I start there and as the work grows I slowly step back. Part of that stepping back is to understand what the impulses are and the images and materials to which I’m drawn” (Enright 28).

Duchamp’s creation of The Large Glass, its documentation via Green Box, his completing by incompletion, and subsequent reaction to and re-engagement with it post-shatter, all point to a similar stepping back from the detailed approach that began the work. Agnes Martin approached her paintings with a similar detailed start. In the documentary film by Mary Lance (16) Martin spoke of how the painting began for her as a vision, a completed, miniature work inside her mind. From this tiny image she began to work out the details of scale, the relationships of the bands within the painting, diagramming measurements in a slightly mathematical fashion on paper, although she was not mathematical and her paintings are by no means precise. Duchamp said he often took a logical, slightly mathematical approach to the development of his work although he was not by nature mathematical and that this came more from his interest in the logic of the game, from chess, rather than in numbers.(17) As a painting crossed from the interior space of Martin’s mind to the exterior space of the canvas a ‘stepping back’ occurred, allowing for a clearer understanding of the vision that originated from within (Cooke et. al. 199-223). I have found I take a similar approach in the development of my own work. The the details of the ideas expression come first, then by stepping back, the understanding of what the work is as a whole comes later.

All three artist have dealt overtly and inadvertently with the trine-relationship formed by the artist, the viewer and the work as pertaining to control and chance. As previously stated, Duchamp and Martin were very aware of how the image they created and conveyed of themselves as the creator influenced how the viewer engaged with the work, and how the work is perceived. Both artists took great pains in controlling the details surrounding their process and the work which sprung from it; often presenting half-truths in order to hide the whole truth. However, this knowledge could in part be the result of posthumous analysis of their lives and oeuvres. Whereas the idea of chance in the paintings of Agnes Martin is addressed much differently than Marcel Duchamp’s use of chance, which was via John Cage’s interpretation, passed down to subsequent generations of artists; the works of both artists are grounded in the paradoxical relationship of the two.(18)

The control of personal image is not discussed in regards to Hamilton; the balance between control and its release, or chance, in the relationship between artist-work in the course of the work’s development is. In the introduction to his interview with Hamilton, Enright states:

“There is never anything in an Ann Hamilton installation that isn’t precisely chosen. What makes her work so remarkable is that from this exactitude she is able to generate such an explosive poetics of experience” (20).

The viewers’ role in the work’s completion is emphasized by all three artists. For Duchamp this plays out in the realm of the mind. For Martin it is in the realm of emotion. For Hamilton it in the realm of the physical, occupied by both the mental and emotional and clearly stated through the aesthetic experience. In order to address the questions raised in my first year project through my studio work I, like Hamilton, believe a conjunction of all three elements need be present in order to form a meaningful engagement between the art and the viewer.

The origins of the stories of Duchamp and Martin were personal and symbolic in nature, yet both impart a high level of emotional coolness suggestive of control. The story Hamilton told originated outside her personal narrative, yet the work relayed an intense emotion, driven by heated chance, and informed not dominated by her personal narrative. The series of self portraits I am creating fits between these two emotional realms; a story that is both personal and generic in origin, emotionally cool and heated, full of hidden truths and revealed half-truths.

V.    Conclusion

Returning to my project title and research question, how can the experiences of a female with Epilepsy be applied as the framework surrounding a series of self portraits? Through an open approach both in terms of materials, technique and conceptual understanding of what constitutes a self portrait; the continued study of the trine-relationship formed by the artist, the work and the viewer as it pertains to emotional impact and response; and by further research and exploration into the various means by which concepts of hidden and revealed, individual and group experience, control and chance, and of moments of transformation and change can and have been expressed in a wide range of art is called for. To achieve the desired result of expanded knowledge and understanding of the female’s experience with Epilepsy it will be necessary to keep the framework as simple and non-Baroque as possible so as not to distract the viewer from a direct engagement with the emotional content generated by the subject being expressed within the contents of the frame, the studio work. This is best achieved by moving away from an illustrative and didactic telling of the experience, towards a viewer-infused completion of the portrait via the emotional response to the subject in the manner of Duchamp, Martin and Hamilton have done.

End Notes
(1) This evolved from my own diagnosis and treatment for Temporal Lobe Epilepsy, my explorations of my personal emotional response to the diagnosis and treatment, the information I acquired through research into the disorder, and the expression of these elements in my studio work.
(2) 1910-1912
(3) For further insight as to the impact and influence  of Duchamp on artists of a subsequent generation see: Tomkins, Calvin. The Bride & the Bachelors; Five Masters of the Avant-garde. Expanded Edition ed. New York: Penguin, 1984. Print.
(4) The Large Glass. Richard Hamilton.( D'Harnoncourt et. al.  58-67).
(5) One could argue because The Large Glass is in a state of constant flux through its completion by the viewer, the possibility exists that can remain unresolved (Tomkins 6-7). Conceived with this expanded state of transformation at its base, it is almost assured that with each encounter the viewer has with The Large Glass the way in which it becomes ‘resolved’ for the viewer will be different from the previous resolution, hence in an unresolved state the work is resolved. The resolution as a unique experience each and every time, regardless of how often a viewer experiences the work, becomes another paradox among many within the Duchampian realm when one considers the Readymades.
(6) “By her own account, her work reached its full maturity only after 1960” (Cooke et. al. 12).
(7) Surrounding works are a mix beginning from the same period and extending to the end of Martin’s career forty years later. Photos of the work’s installation can be found in Appendix 2a.
(8) Online Dia:Beacon dates this painting 1956-1957, in the museum titles the date is 1957. Martin relocated from New Mexico to New York City in 1957 which means the painting could have been started in New Mexico and brought to New York City uncompleted, or it could have been painted entirely in New York City after her relocation.It is a painting created not just during a period of artistic transition, but also during a period of physical transition.
(9) “Few artists are as completely framed by their own words and yet remain so personally off-limits”. Agnes Martin and the Sexuality of Abstraction, Jonathan D. Katz.(Cooke et. al. 179)
(10) Note 8. (Cooke et. al. 22); Note 2 (Cooke et. al. 238)
(11) Agnes Martin: With My Back To The World. Dir. Mary Lance. Perf. Agnes Martin. New Deal Films, 2003. DVD.
(12) Martin, Agnes. Agnes Martin: Writings = Schriften. Ed. Dieter Schwarz. Ostfildern-Ruit: Hatje Cantz, 2005. Print.  What We Do Not See If We Do Not See. 111-119.
(13) Spirituality| Art21 | PBS. Perf. Ann Hamilton. PBS/Art21, 2001. Spirituality| Art21 | PBS. PBS/Art21.org. Web.
(14) Highsight / Fore-site: Site-specific installations responding to our Jeffersonian Heritage. June - October 2000. Bayly Art Museum, University of Virginia, Charlottesville, Virginia.
(15) To d e l i n e a t e/The inscription of a line, wound, round, an enclosure/It announces, fixes, establishes, marks, a visible trace. /It is a word, a name, a signature/Roving the border between /A hiss sounding the silence of/A dividing from/A dividing by/Erasures./History./Between a reader and a writer/-- Ann Hamilton (Hamilton, ghost..a border act)
(16) Agnes Martin: With My Back To The World (2003). Dir. Mary Lance.
(17) Marcel Duchamp - Jeu D'échecs Avec Marcel Duchamp (1963). Dir. Jean Marie Drot.
(18) For an indepth discussion on the relationship of Martin’s concepts to those of Duchamp and Cage see Self-Effacement, Self-Inscription Agnes Martin;s Singular Quietude. Jaleh Mansoor. (Cooke et. al. 155-169)

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Marcel Duchamp - Jeu D'échecs Avec Marcel Duchamp (1963). Dir. Jean Marie Drot. Perf. Marcel Duchamp. N.d. U B U W E B - Film & Video: Marcel Duchamp - Jeu D'échecs Avec Marcel Duchamp (1963). UBUWEB. Web. 07 Feb. 2015. <http://www.ubu.com/film/duchamp_drot.html>.

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Tomkins, Calvin. The Bride & the Bachelors; Five Masters of the Avant-garde. Expanded Edition ed. New York: Penguin, 1984. Print.

Appendix 1

Appendix 2

Appendix 2a

Appendix 3

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