Coming up

Coming up:


Sunday, 19 November 2017

Art tutor needed at Yarpole, Wednesday afternoons

Would you like to tutor a local art group? Orleton Art Group is seeking a tutor for their spring term, on Wednesday afternoons fortnightly. They will pay £50 per session, and the term is for 6 sessions. The group is of mixed ability and various media are used. A theme for the term would be chosen to match your own skills. If you are interested, please email John at with a phone number.

A new co-operative artists' gallery in Ludlow area?

A group of Shropshire based artists seek submissions from other local artists and crafts people who would be interested in joining them in running a co-op gallery in the Ludlow area. Applicants should be working to a high level in their chosen field with good experience of running exhibition spaces and selling work. Artists should also be able to commit financially to the shared running costs and rates of renting a large commercial unit in a sought after area and should also be prepared to commit their time to help make the gallery run successfully. We are particularly interested in receiving submissions from artists working in 3d materials, sculpture, ceramics, metal, wood although all art forms would be considered. We are not looking for photographers at this time.

Submissions of interest along with examples of work should be sent to Shelly Perkins,

Charles MacCarthy Exhibition

President of Ludlow Art Society, Charles MacCarthy, invites you his forthcoming exhibition at The Table Gallery in Hay on Wye. The private view is 6pm - 9pm on Friday 24th November. He will also be showing some paintings at The Haymakers Gallery as part of their Christmas show which will also have a private view from 6pm - 9pm. Charles says "As it is the first day of the Hay Festival Winter Weekend  I imagine the town will be crowded, but I do hope you will be able to come while the exhibition is on. Best wishes, Charles."

Wednesday, 8 November 2017

Spotlight: Celebrating the heroic

This month Spotlight is, by accident, about the spotlight. The light aimed on the theatre stage that picks out the main heroine, the hero, the main character on the stage.
How does art celebrate heroic people? More specifically, how does art celebrate individuals?

Edmund Hilary, climber of Everest.  Portrait painted by Jurgen H. Staudtner
  This blog’s inspiration is a Guardian article from 12th September 2017, titled “Move over Nelson”, about who should be celebrated in sculpture. The article’s proposition is that publicly commissioned sculpture could better represent heroes such as Victoria Wood and David Attenborough - the heroes who entertain “We, the people”. It is not obvious, however, that replacing military and government figures with individuals from other institutions such as the media is the answer.  There are many heroes who are not already famous...
A possibly heroic person
   Part of this consideration of how to illustrate heroism is the artistic balance between meaning and aesthetics: what is visually engaging?  Not suggesting that Victoria and Sir David are unappealing… Simply that there may be other stories of achievement that could be more visually dramatic than familiar faces of tv personalities. Doesn't art need more creativity and challenge than replicating television?  More surprise or humour?
Sir David Attenborough by Rene Campbell
  David Attenborough would probably appreciate being celebrated through public depictions of wildlife's drama rather than his own face.
3D-effect street art by Alex Maksiov
  A visual snapshot homage to Victoria Wood, rather than of her smile, could be of a wonky Mrs Overall.  An image from Victoria Wood, rather than of Victoria Wood, is probably what she and we would enjoy more.
  Who is put in the spotlight, when art is to be seen by many? Who gets portraits painted of them, sculptures commissioned, and memorials?
  Statues are coming down, slowly.  Many public figures of distant and recent past are being discredited, for reasons such as associations with slavery or corruption, or simply anything which is no longer as acceptable as it used to be.  Women are getting better represented, gradually, as are minorities.  It's slow.  It can make one wonder how such public artistic choices are made in the first place.
Aung San Suu Kyi portrait taken down in an Oxford College
  Since 2014 Nigeria’s Pan-Atlantic University has had an arts programme to illustrate Nigerian culture and achievement and challenges in an international context. It tells the world what Nigeria is about. Among other things it includes celebrating the Bachama wrestler festival, and Emotan (who instigated a creche system), and Queen Idia.  This range of subjects seems representative of power dynamics in most western monumental art.  
Bachama wrestler
  The Bachama wrestler is a generic figure with no name attached. The wrestler is there as a class of people, rather than an actual person.  Nigeria's historic Queen is named as an individual. Emotan, also celebrated as a named individual, is honoured not so much because she started childcare day centres as because she helped prevent a coup and was then made governor of markets and security.
  George Orwell, real name Eric Arthur Blair, writer of 'Animal Farm' and '1984', has been celebrated recently with a statue at BBC headquarters.
  It is the only statue there.  He worked for the BBC, but felt that it was like being an inmate in an asylum, and resigned after a couple of years.  Some of '1984', such as 'Room 101' is rumoured to have been based on his BBC experiences. Eric's adopted son, and the sculptor, feel that Eric would be uncomfortable with being celebrated on a plinth, particularly at that location.
  However there is a more fitting monument being made to the creator of '1984's notion of "Big Brother is watching you".  Up the road at Piccadilly Circus, facial recognition cameras are being installed in the giant advertising screen.  Those walking past will be identified and recorded.
  In art commissions everywhere, as with a lot of things, the people who control the spotlight are the same as those who control the stage.  
Amy Winehouse statue, with Amy's parents at the unveiling
Public voting for public art is rarely practised.  If you want to have a say in who and what gets artistically celebrated, you can take control of a spotlight. Alternatively you can control the stage - that is what street art does. 
Amy Winehouse portrait, Mr Cenz
  How are heroes identified in the UK?  Many are recognised through the Queen’s Honours, which is the awarding of titles and designations such as OBE, MBE, Dame, and Sir, bestowed for acts of kindness and bravery, dedication, education or sporting achievements. 
Winners in ‘the Honours’ are not necessarily those with a visually compelling story. The Honours are word-based, like this blog: nominations to the Honours list are made with words. To nominate someone you fill in a written form, with no need to attach photos or a musical recording or video of the nominee. Visual impact is not a criterion. In choosing art subjects it might be better to look among the list of people nominated for honours but rejected: nominated heroes whose tale still merits recognition.  From among them, perhaps select those whose tale has drama which lends itself to the visual arts of painting and sculpture.
  Who would you celebrate in art?

Saturday, 4 November 2017

Date for your Diary: Thursday 16th November

This will be our last social evening of the year. Do come and join us any time from 7.30 onwards at the Blue Boar, Mill Street, Ludlow. Members and non-members welcome. Look out for our new flag on the table! We are always pleased to meet new faces.

Wednesday, 25 October 2017

Castle Artists Xmas Exhibition 25 & 26 November

Castle Artists are hosting their Xmas Exhibition
on Saturday 25th and Sunday 26th November 2017 from 10.00 - 5.00 each day
It will be held in the Public Hall, Station Street, Bishops Castle SY9 5AQ
Free entry and parking, Disabled Access.

Image : 'Cat on a Sill' Linocut by Drusilla Cole

Tuesday, 17 October 2017

Social Evening Thursday 19th October

Social evening this Thursday! 7.30 onwards at the Blue Boar, Mill Street, Ludlow. Why not drop in for a natter with good company? See you there.

Friday, 6 October 2017

Spotlight: Earth, Fire, and liquid sunlight

How will the sun set? How will it rise?
What are your pigments, and do they change with the seasons, as light does, and the fruits and vegetables brought from nearby farm holdings, and displayed on market stalls?
What is the palette of Autumn? If Autumn has an element, it seems to be Earth tones, yellows and browns of leaves and fields, before Winter’s pale air and freshness. 

'Autumn Sunset', Brian Pier, oil on canvas
Autumn also has fire: blazing reds of berries and maples, mottled apples, and the smell of bonfires.
Summer and Autumn harvest clearly inspires extra-terrestrials to do a bit of imagery too, typically choosing wheat as their medium.
Cley Hill, Wiltshire, 18th July 2017
Tintoretto was the son of a dyer. He used carmine, the insect-derived pigment, rather early in the pigment’s history, and overtly unblended in paintings such as ‘The Miracle of the Slave’ (1548) for his pinkish-reds which, at the time, would have had novelty appeal as well as visual drama.
Indian Yellow, was once produced by collecting the urine of cattle that had been fed only mango leaves. Dutch and Flemish painters of the 17th and 18th centuries favoured it for its luminescent qualities, and often used it to represent sunlight*. Indian Yellow’s apparent glowing quality may have had something to do with the unusual way it was applied at the time, in pure form between layers of clear varnish rather than as regular oil paint. However it had another peculiarity. Colours fade in direct sunlight: “photodegradation”. Ultraviolet rays break down chemical bonds, fading and bleaching colours, and this can be seen as part of natural decomposition, returning to earth, and returning pigments to less intense, more dusty hues. 
The odd thing about Indian Yellow is that its intensity faded more in darkness than in sunlight. A painting left in subdued lighting would later appear dull, whereas one which had stood resplendent in a brightly windowed room would retain its glowing vibrance. Which is chemically mystifying, but may make some sense when we consider that sunlight nourished it from the beginning – thin cattle in the baking sun of India, and as foodstuffs go, you can’t get much more sunny than mangoes. Mango leaves are designed specifically to catch sunlight, and turn it into mangoes. It seems no surprise that, as a pigment, sunshine yellow fades in darkness, but thrives in light. Like most of us.
It is by taking in light that we see paintings. 
Have fun choosing your palette, considering your pigments, and touching the paint, the powders, the apples on the market … all that comes from light, and makes you glow. 

* Indian Yellow is now made synthetically, from magnesium euxanthate, the original methods having been deemed to constitute animal cruelty in the late 19th Century, and the import and its small industry vanished soon after.

Sources : Wikipedia, of course
Crop circle Cley Hill, Wiltshire, 18Jul17: Wrekin crop circle 2012, 400m: The circle appeared on the weekend of 21st, 22nd July 2012, with confirmed reports from local farmers that it appeared between the times of 2300 hours on 21st July and 0600 hours on the 22nd July. Read the full article via at:
Crop Circle from above – Photo: Jim Holmes Copyright 2012

Tuesday, 26 September 2017

Oct 5th Talk: Stephen Glendenning on Book Art

This one must surely rank as one of the most fascinating talks we've had for a while. Stephen will take us on a rich and colourful journey through history as we look at a variety of artists who have engaged in book design over the past 300 years. It's difficult to know how to interpret this, other than to look at some pictures, but for some reason I can't seem to add any here so please take a look at this link:

Talk starts at 7.30 at Ludlow Assembly Rooms. Everybody is most welcome to come along (non members £5.) See you there!

Saturday, 16 September 2017

Sam Manley Sprays Cheltenham ...


The Cheltenham Graffiti Festival was something brand new, a push organised and run by artist Andy 'Dice' Davies with the aim of getting quality street art into Cheltenham, and he managed to do a phenomenal job. I signed up a few months ago, as I'd really wanted to get back into stencil work and paint jams but hadn't been able to for a couple of years. I was a bit nervous, but I did my usual preparations of colour sketches, test sprays to make sure the stencils lined up correctly, and making sure I had enough paint (I always overdo it with cans, but it'd be quite embarassing to not be able to finish a design due to running out... and you can never be quite sure how absorbent a new surface might be).

My piece was of the ancient Egyptian god Anubis - at school, in year 3, the class had a term-long project on the ancient Egyptians, and the mythology and art stuck in my head. This seemed a good time to do something with it, with a character that I found particularly striking.

Anyway, I headed out to my spot, a bridge on the Honeybourne Line, where I'd been given a space next to artists StencilShed and IWalkADifferentPath (many stencil artists prefer to be known by names they've chosen). I got a fair way into the work - masking off a space, getting the black and red layers down (pic1), and then getting the scale arms and the corner decorations down (pic2, and those circles are the magnets I used to hold the stencil down on the metal surface) before the rain began. Oh my days, did the rain begin...

The three of us headed for cover, the best we could find being a bit of overhanging foliage, and waited it out. When the downpour ended, it was time to carry on. I was pretty impressed with the Kobra paint I was using - it dries almost instantly, even in a somewhat moist atmosphere; my previously-used Montana Gold paint had never fared so well in the damp air.

I was able to start the final layers (pic3), but then the heavens opened again, this time so badly I feared that my stencils (cut on 300lb paper) might get ruined - I had tried to cover them in plastic, but it was an impromptu and imperfect solution. Passing joggers and walkers huddled with us under the sparse shelter, as they didn't even want to brave the short journey back home.

It drizzled on and off for the rest of the day, so I had to just keep on running out and doing what I could (part of it done with a sheet of taped-together bags I draped over the surface and myself so I could carry on in a light shower). It got done, though!

And in case you're wondering, that's Captain Viridian from the game VVVVVV, hanging upside down. He's there purely to stop the main Anubis piece from being such a po-faced picture.

Sam Manley

Thursday, 14 September 2017

A Good Summer Exhibition

Our summer exhibition has drawn to a close after ten busy days in St. Laurence's church. The preview evening was well attended when the mayor, Tim Gill, formally opened the exhibition. It was pleasing to see more diversity than usual in the types of exhibit, with textile art, stone carving, illustration and abstract painting all represented. There was even a painting that incorporated recycled parts from a computer (and it sold, too - congratulations to Jacquie Langham). It was also lovely to see work by several new members. Our tribute to Marcel Duchamp helped gain publicity in the local press, and this was reflected in the large number of visitors that came to the exhibition. Perhaps the uncertain economic times led to fewer sales than we might have hoped for, but nonetheless we sold over £2,200 of exhibits and we managed to break even financially, despite having hired additional lighting for the exhibition.

Many people deserve a big thankyou for their hard work in making the exhibition happen, not least the exhibition team of Lesley Connolly, Ruth Tune, Anne Fox, Pat Innes, Val Turner. Also Val Alexander for help with hanging (no small job), Samuel Bebb for painting the large poster board, Dave Tedham for taking away and storing all the bits and pieces, Helen Jarvis for counting the "favourite exhibit" slips, plus all those who stewarded and all those who provided the artworks which of course are the whole point of the exhibition. We are grateful to our sponsors for the prizes awarded as follows.

Castle Bookshop (£20 voucher) - Golden Glade by Val Littlehales
Chang Thai Bar & Restaurant (£20 voucher) - Lem Brook by Sandra Graham

Ludlow Brewery - In Mevagissey Harbour by George Loades

Mayor's Choice - Flower Power by Steve Foxx

"Favourite exhibit" counts of 3 or more are listed in order as follows:

Votes Artist
41 George Y Loades In Mevagissey Harbour
25 Sandra Graham Lem Brook
24 Val Littlehales Golden Glade
21 Mick Pavey Cotswold Winter (Nr Malmesbury)
21 Mick Pavey Steamy Shed
17 David Tedham Zagerlite
16 Sandra Graham Fading Light - Wilden Marsh
15 Sandra Graham Dowles Brook
14 Sandra Graham Spring Morning
14 Rob Leckey South Stack Lighthouse
14 Mary Phillips West Still Life with Chinese Jar
13 Martin Dutton Jasper Johns in Beguildy
12 M. A. Broad Port Isaac
12 Rob Leckey The Grand Canal - Venice
10 Valerie H. Alexander Bridge at Brantôme
10 John Jarvis Castle Gate at Dusk
10 Val Littlehales Shoe Collector
9 Martin Dutton Autumn Beguildy
9 Wilfred Langford Jugs & Lilies
9 Val Littlehales Autumn Gold
9 Val Littlehales Moving On
9 Mick Pavey Cartshed & Sheep (Bagden Farm)
8 Valerie H. Alexander Sunny Day, Pinmill
8 Sam Bebb Consumed
8 Val Davies Best Friends
8 Gretchen Ind Woman, Bristol
8 Val Littlehales March Moon
8 Val Littlehales The Reader
8 George Y Loades Above Dhustone on Clee Hill
8 Mick Pavey After the Snow
8 Anne E. Priest Handsome
8 Anne E. Priest Mai
7 Valerie H. Alexander Shade and Stillness
7 Valerie H. Alexander Side Street, Skiathos
7 L.J. Connolly Owl
7 Val Littlehales The Old Road
7 Val Littlehales Hare
7 Mick Pavey Jackson
7 Ruth Tune ...Shepherd's Delight
7 John Willetts Snow on the Stiperstones
6 Valerie H. Alexander Shopping in Skiathos
6 Arthur Davis High Street, Leominster
6 Tresi Hall Cardingmill
6 Rob Leckey Mallaig Boat Repair Yard
6 John Willetts Llyn Ogwen, Snowdonia
5 Rosemary Charles Greek Holiday
5 Val Davies Morning Glory
5 Stephen Foxx Flower Power
5 Tresi Hall The Mill
5 Gretchen Ind Lydia
5 David Tedham Electric Boquet
4 L.J. Connolly Eider Ducks
4 Martin Dutton Strong and Stable
4 Lynda Emery Norfolk Windmill
4 Stephen Foxx Julie's Dream - part one
4 Tresi Hall Windhover
4 Gretchen Ind Woman, Barcelona I
4 Gretchen Ind Sisters
4 Andy Nash Chilli Peppers
4 Mick Pavey Cosy Chat by the Gate
3 Valerie H. Alexander Deep Snow at the Knowle Turn
3 L.J. Connolly Hare
3 Tom Crowe Labrynth
3 Lynda Emery Baby Elephant
3 Sandra Graham After the Rain
3 Anne Holding Brexit
3 Jacquie Langham Colour of Light 2
3 Val Littlehales Track to the Mountains
3 Val Littlehales Homeward
3 Charles MacCarthy Cecily's Cupboard
3 Anne E. Priest Mother and Lambs
3 Ruth Tune Horses of Camargue
3 Ruth Tune Thrushes
3 John Willetts The Stiperstones

Saturday, 2 September 2017

Spotlight: Marcel Duchamp (part 2 of 2): Elsa von Freytag-Loringhoven, and making things happen - including correction and further details and thoughts

Following last month’s spotlight on Marcel Duchamp - and with LAS’s Tom Crowe’s ‘Fountain’ having seen light of day and now come down from its bold display at the LAS Summer Exhibition - here is another dive into.... 
...the legends of Marcel Duchamp.

A urinal as a work of art was not Duchamp’s idea. 
George Biddle, Philadelphia

In March 1917 in New York, George Biddle, a painter, hired a model to pose for him. The model arrived wearing a scarlet raincoat, and a hat decorated with carrots, beetroots and other vegetables. When George asked her to disrobe it was revealed that her clothing beneath the raincoat was a series of curtain rings up one arm (stolen from a store), a birdcage round her neck, with a live canary, and a bra made of two tomato tins held together with string. While George painted, it appeared that it was the model who was the more creative artist.  Baroness Elsa von Freytag-Loringhoven.
Duchamp met Elsa (or Elsa met Duchamp), and the pair were mutually impressed. In a letter from Duchamp to his sister in April 1917 he wrote that one of his female friends had started calling herself ‘Richard Mutt’, and that this ‘Richard Mutt’ had sent him a porcelain urinal as a sculpture. Elsa's pseudonym “R.Mutt” is a pun, in the context of the war. “Armut” is German for poverty, and embodies Elsa’s views on how the war inflicted poverty, and that the arts were intellectually poor. 
'God' by Elsa von Freytag-Loringhoven, 1917

Elsa had been declaring street-found objects to be art long before she met Marcel Duchamp.
'Enduring ornament' by Elsa von Freytag-Loringhoven, 1913

We can wonder, now, whether Duchamp “made’ or “created” the urinal sculpture. This enduring pundit discussion is typically spun around the fact that Duchamp did not physically create the urinal, and that the magic of the work - the genius of creativity - is the that he had the idea to call it art and exhibit it. He did not craft the physical object with his own hands: the urinal had been made by people who worked each day in a ceramics firm. Duchamp’s "build" was to turn it on its back and paint “R. Mutt 1917” on the side.  The intellectual aspect is what has been heralded throughout the 20th and early 21st centuries: the idea, above the talent of craftsmanship.  The concept, above the act of making.
  However he did not have the idea either.
So what did he do?
He made it happen.
  Duchamp named the piece 'Fountain' and put it in a major art exhibition.  He made the concept become real. Duchamp had the idea to place that intellectual leap into a public arena: to push it at the art world and its viewers. And he had the drive and focus to achieve it.  Such action is a real contribution, so often taken for granted and underappreciated. 
   There is a plethora of art ideas which are never realised. We all have ideas which do not make it onto canvas, or into a gallery, or onto the street.  Often, the more we discuss them, the less likely they are to happen. Or, perhaps, the less likely they are to happen by our own hand.  Someone else gets the credit - for actually doing it.  As with Jackson Pollock in July’s Spotlight, people often say “a kid could do that”, or “I could do that.” 
  Baroness Elsa von Freytag-Loringhoven was even more impressive than her name. However there is little to suggest that Elsa was the only person conceiving of the notion of the “ready-made” or found object as a work of art. Elsa should be given the credit for the concept. Duchamp boldly did it. 
Extract from the event 'Welcome To The Dark Ages', Liverpool 23-25Aug17 

Last week I spent 4 days at a happening-style event in Liverpool, in which the artists Jimmy Cauty and Bill Drummond (aka the music band “KLF”, “Justified Ancients of Mu Mu”, and “The K Foundation”) broke their self-imposed 23-year silence about having burnt £1 million pounds in huge bundles of fifty pound notes. One thing that I learnt more strongly from the events of those 4 days is the power of making things happen.  Doing them, with glee, rather than just thinking about them smugly, and letting them rest in the imagination, to evaporate like clouds. There is much power in making things happen. The economy, your pension, your childrens’ university fees, climate change…. will not be solved by ideas. We need action too. We need both.
  Duchamp’s contribution is “he actually did it”.  This might have sounded weak twenty years ago, 
compared with the matter of “who had the idea?”  We always need people to explore the edges and have the revolutionary ideas, of joy and solutions, and to share those ideas. Thanks, Baroness Elsa von Freytag-Loringhoven.  More than ever we also need those ideas to materialise.  We need people to dare ideas into life. Thanks Marcel Duchamp, you guy from a farming village.
And thanks to everyone who put the effort into making the LAS Summer Exhibition happen. Happy September, everyone.

**CORRECTION and expansion to the original blog article above**

I am indebted to Dr Glyn Thompson for a correction to the current blog ‘Marcel Duchamp (part 2 of 2): Elsa von Freytag-Loringhoven, and making things happen’
The letter from Marcel Duchamp to his sister does not say that “Richard Mutt” sent the object to Duchamp. The letter says that one of his friends (feminine), under the masculine pesudonym, Richard Mutt, had sent it as a sculpture, the implication being, if Mutt was Elsa, that it was Elsa who submitted the piece to be exhibited.
Of considerable further interest is that Dr Thompson located a surviving example of what seems very probably the same model of urinal as the original 'Fountain', a vitreous earthenware flat back Bedfordshire lipped urinal, manufactured by the Trenton Potteries Co., as can be seen in the article by Dr Thompson, ‘The Richard Mutt Affair Meets the Louisiana Purchase Exposition’, in St Louis magazine.
‘ELSA IN PHILADELPHIA’, an exhibition curated by Dr Thompson, is on until Sunday 24th September 2017, at the Sumerhall Long Corridor, SUMMERHALL, 1 SUMMERHALL, EDINBURGH, EH9 1PL. See for details.

Following this helpful correction from Dr Thompson, based upon that letter from Duchamp, the urinal was only sent to Duchamp in the sense that Duchamp was a Director on the exhibition’s Board of Directors of the Society of Independent Artists (the Society convening the exhibition, and to which pieces were submitted), the Board being the panel which decided which submissions to the exhibition would be exhibited.
    If the urinal was not sent by, or at the behest of, Duchamp then it was perhaps not Duchamp who had the idea to place that intellectual leap into a public arena: the leap of treating a single, almost unaltered bought object as an art exhibit. Or it was not Duchamp who did the deed. However Duchamp was clearly already treating single, almost unaltered bought objects as art pieces, as was Elsa. The naming of the piece as “Fountain” was possibly also done by Elsa rather than Duchamp.

    It is now more apparent that treating them as two separate, and possibly even competitive, acts and endeavours, about which a judgement of "was it Elsa or was it Marcel" is appropriate, seems to miss the nature of artists.  The two clearly spent time together, and surely discussed such matters, as we do today when talking about art ideas with friends, whether or not we are in a formal artistic collaboration.  It seems highly likely that they would have been mutually aware of the notion of progressing the concept of the "readymade" by pushing it into the art circuit, just as artists do today.  The anti-war aspect ("R. Mutt" alluding to "Armut") is a sentiment which was strongly shared by both of them.
    Treating the matter of attribution as being wholly separate and competitive probably says more about our perspective than it does about theirs.
    The urinal was sent to the exhibition from the address of a Louise Norton in New York, a friend of Duchamp, who may also have been known to Elsa.  Duchamp resigned from the Board after the urinal was rejected (it was rejected by vote by the majority of the Board of Directors on which he sat). Duchamp asked Stieglitz if he would photograph the rejected submission for the frontispiece of the art journal ‘The Blind Man’ of which Duchamp was one of the co-founders. The urinal was then exhibited by Stieglitz in his gallery called ‘291’.

Thanks again to Dr Thompson for contacting LAS, and for bringing the letter detail, and the urinal example in St Louis, to light.

Sources include:
‘The Magic Chef Mansion Urinal and Marcel Duchamp, Part II ’, Glyn Thompson - St Louis magazine
‘The Richard Mutt Affair Meets the Louisiana Purchase Exposition’,Glyn Thompson - St Louis magazine
‘Marcel Duchamp, Richard Mutt and Fountain’ Milan Golob, after W. Camfield
‘A Lady’s Not A Gent’s: Revolution in the water closet’ – Wow 24/7

Featured post


Ludlow Art Society has been offered studio space in Harvest House, for a limited period of about 9 months before the building is demolished....