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Home , Marie Laurencin, Mina Loy, The Blind Man, Walter Conrad Arensberg

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P B T 33 WEST 67ih STREET, NEW YORK

BROYEUSE DE CHOCOLAT

MAY, 1917 No. 2

P • B • T THE BLIND MAN 33 WEST 67th STREET, NEW YORK

BROYEUSE DE CHOCOLAT Marcel Duchamp

MAY, 1917 No. 2 2 THE BLIND MAN

The Blind Man's Ball

VERY reader of this magazine is invited to E the BLIND MAN'S BALL, a new-fashioned hop, skip, and jump, to be held on Friday, May 25th

at Prehistoric, ultra-Bohemian Webster Hall. The Ball is given for THE BLIND MAN, a magazine of Vers Art. Axioms du Bal The will not end till the dawn. The Blind Man must see the sun. Romantic rags are requested. There is a differ- ence between a tuxedo and a Turk and guests not in costume must sit in bought-and-paid-for boxes. Continuous Syncopations

Tickets, in advance, are $1.50 each; boxes, not including admission, $10, and may be obtained ONLY from

THE BLIND MAN'S BALL 61 Washington Square Telephone, Spring 5827 All tickets at the door, $2

PUBLISHED BY Q & £ r My /

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' A RESOLUTION MADE AT BRONX TALE BY PARK I had once a marble staircase which was Robert Carlton Brown so beautiful, so beautiful, that I had it I'M GOING TO GET stuffed and used only my window for get- A GREAT BIG ting in and out. FEATHER-BED OF A PELICAN AND KEEP HIM Elle avait des yeux sans tain IN THE HOUSE TO CATCH THE Et pour que ca n'se voie pas FLIES, MOSQUITOES AND MICE, Elle avait mis par-dessus LAY EGGS FOR ME Des lunettes a verres d'écaillé. TO MAKE OMELETTES OF, AND BE MY DOWNY COUCH AT NIGHT. S. T., E. K. THE EXHIBIT REFUSED BY THE INDEPENDENTS The Richard Mutt Case They say any artist paying Now Mr. Mutt's is not immoral, that is absurd, no more than six dollars may exhibit. a bath tub is immoral. It is a fixture that Mr. Richard Mutt sent in a you see every day in plumbers' show windows. fountain. JVithout discussion Whether Mr. Mutt with his own hands made the fountain or not has no importance. this article disappeared and He CHOSE it. He took an oi'dinary article never was exhibited. of life, placed it so that its useful significance disappeared under the new title and point of IVhat were the grounds for refusing view—created a new thought for that object. Mr. Mutt's fomitain :— 1. Some contended it was im- As for plumbing, that is absurd. moral, vulgar. The only works of art America has given are her plumbing and 2. Othersy it was plagiarism, a plain piece of plumbing. her bridges.

"Buddha of the Bathroom" I suppose monkeys hated to lose their ing thing about our human institution is tail. Necessary, useful and an ornament, that although a man marry he can never monkey imagination could not stretch to a be only a husband. Besides being a money- tailless existence (and frankly, do you see making device and the one man that one the biological beauty of our loss of them?), woman can sleep with in legal purity with- yet now that we are used to it, we get on out sin he may even be as well some other pretty well without them. But evolution woman's very personification of her ab- is not pleasing to the monkey race; "there stract idea. Sin, while to his employees he is a death in every change" and we monkeys is nothing but their "Boss," to his children do not love death as we should. We are only their "Father," and to himself cer- like those philosophers whom Dante placed tainly something more complex. in his Inferno with their heads set the But with objects and ideas it is different. wrong way on their shoulders. We walk Recently we have had a chance to observe forward looking backward, each with more their meticulous monogomy. of his predecessors' personality than his When the jurors of The Society of In- own. Our eyes are not ours. dependent Artists fairly rushed to remove The ideas that our ancestors have joined the bit of sculpture called the Fountain together let no man put asunder! In La sent in by Richard Mutt, because the object Dissociation des Idees, Remy de Gour- was irrevocably associated in their atavistic mont, quietly analytic, shows how sacred is minds with a certain natural function of a the marriage of ideas. At least one charm- secretive sort. Yet to anv "innocent" eve how pleasant is its chaste simplicity of line is a garruolus and gullible old man, neither and color! Someone said, "Like a lovely safe nor scientific, who on the same subject Buddha"; someone said, "Like the legs of seriously cites by way of illustration, how the ladies by Cezanne"; but have they not, by the strength simply of her imagination, a those ladies, in their long, round nudity al- white woman gave birth to a "black-a- ways recalled to your mind the calm curves moor"! So you see how he is good for of decadent plumbers' porcelains? nothing but quotation, M. Montaigne. At least as a touchstone of Art how valu- Then again, there are those who anx- able it might have been! If it be true, as iously ask, "Is he serious or is he joking?" says, that pictures that are Perhaps he is both! Is it not possible? In right stay right, consider, please, on one this connection I think it would be well to side of a work of art with excellent refer- remember that the sense of the ridiculous ences from the Past, the Fountain, and on as well as "the sense of the tragic increases the other almost anyone of the majority of and declines with sensuousness." It puts it pictures now blushing along the miles of rather up to you. And there is among us wall in the Grand Central Palace of ART. to-day a spirit of "blague" arising out of Do you see what I mean? the artist's bitter vision of an over-institu- tionalized world of stagnant statistics and Like Mr. Mutt, many of us had quite antique axioms. With a frank creed of im- an exhorbitant notion of the independence mutability the Chinese worshipped their of the Independents. It was a sad surprise ancestors and dignity took the place of un- to learn of a Board of Censors sitting upon derstanding; but we who worship Progress, the ambiguous question, What is ART? Speed and Efficiency are like a little dog To those who say that Mr. Mutt's ex- chasing after his own wagging tail that has hibit may be Art, but is it the art of Mr. dazzled him. Our ancestor-worship is Mutt since a plumber made it? I reply without grace and it is because of our con- simply that the Fountain was not made by ceited hypocracy that our artists are some- a plumber but by the force of an imagina- times sad, and if there is a shade of bitter tion; and of imagination it has been said, mockery in some of them it is only there "All men are shocked by it and some over- because they know that the joyful spirit of thrown by it." There are those of my in- their work is to this age a hidden treasure. timate acquaintance who pretending to ad- mit the imaginative vigor of Mr. Mutt and But pardon my praise for, sayeth Nietz- his porcelain, slyly quoted to me a story sche, "In praise there is more obtrusiveness told by Montaigne in his Force of the than in blame"; and so as not to seem Imagination of a man, whose Latin name officiously sincere or subtly serious, I shall I can by no means remember, who so write in above, with a perverse pen, a studied the very "essence and motion of neutral title that will please none; and as folly" as to unsettle his initial judgment did Remy de Gourmont, that gentle cynic forevermore; so that through overmuch and monkey without a tail, I, too, conclude wisdom he became a fool. It is a pretty with the most profound word in language story, but in defense of Mr. Mutt I must in and one which cannot be argued—a pacific justice point out that our merry Montaigne Perhaps! LOUISE NORTON.

FOR RICHARD MUTT One must say every thing',— When they stop they make then no one will know. a convention. To know nothing is to say That is their end. a great deal. For the going every thing- So many say that they say has an idea. nothing,—but these never really send. The going run right along. For some there is no stopping. The going just keep going. Most stop or get a style. C. DEMUTH. Recharge, please, recharge avec la chimie de ta salive l'accumulateur démon coeur S. T. E. K. Axiom

From a determinable horizon absent spectacularly from a midnight which has yet to make public a midnight in the first place incompatibly copied the other in observance of the necessary end guarantees the simultaneous insularity of a structure self-contained a little longer than the general direction of goods opposed tangentically. .

Letter from a Mother

I have never been in Europe. I was born in Minneapolis and I am the mother of three children, all gifted, two exhibiting in this exhibition. I have always felt nervous about artists, but in my modest way I am a believer in democracy. Therefore as a woman who has done her duty towards the race and experienced life, I make the plea to all other mothers and women of constructive comprehension, that we keep this exhibition sane and beautiful. It is only by elevating the soul and keep- ing the eyes of our young ones filled with lovely images that we can expect good re- sults from the generation that will follow. People without refinement, cubists, futurists, are not artists. For Art is noble. And they are distorted. Independence is needed, but a line must be drawn somewhere. In sincere faith I hope for your success. Sincerely, A MOTHER. Theorem For purposes of illusion the actual ascent of two waves transparent to a basis which has a disappearance of its own is timed at the angle of incidence to the swing of a suspended lens from which the waves wash the protective coloration. Through the resultant exposure to a temporal process an emotion ideally distant assumes on the uneven surface descending- as the identity to be demonstrated the thrfee dimensions with which it is incommensurate. WALTER CONRAD ARENSBERG.

CONEY ISLAND From a friend. April 12, 1917. of evocation; because it would fail abso- Dear Blind Man:— lutely to symbolize and synthesize the spirit of our age. Their work would merely be Fine for you! something promoted, not by our life, not You are, I hope, to be an instrument for by the vitalized forces of our time, but the accomplishment of an important and something promoted only by the flat, dead much-needed work in America; namely, and profitless spirit of a bygone time. the fostering and encouragement of a truly So, if you can help to stimulate and de- native art. An art which will be at once velop an American art which shall truly the result of a highly vitalized age, of a rest- represent our age, even if the age is one of less artistic spirit, and of a sudden realiza- telephones, submarines, aeroplanes, caba- tion,—on the part of our artists—of Amer- rets, cocktails, taxicabs, divorce courts, ica's high destiny in the future of the world. wars, tangos, dollar signs; or one of des- Such an art must very closely embody the perate strivings after new sensations and spirit of our time, however morbid, how- experiences, you will have done well. The ever hurried, however disorganiezd, how- future dwellers upon earth will then be ever nerve-racking that time may be. able to look back to our day, and, with truth A bas,—you should say—with any and and conviction say: "Yes, they had an art, every school of art that represents another back in New York, in the days following day, another spirit, another time. No art the Great War, an art that was a vitalized can live that is not an integral part of its part of their life; that mirrored accurately time. Put Botticelli in a studio on Fifth their time, with all of its complexities, Avenue; put Corot in a garret in Washing- graces, horrors, pleasures, agonies, uncer- ton Square; put Fragonard in a barn in tainties and blessings." Harlem, and their work would be worth- Admiringly yours, less, sterile, of no lasting purpose, or power FRANK CROWNINSHIELD.

MEDUSA

Sinister right—dexter left—superior hypocrecy Spirits without light and Don Quixotes Arts starboard, red and green port without vessel. Why change men into animal foeti. My tongue becomes a road of snow Circles are formed around me In bath robe Exterior events Napoleon > Modern ideas Profound artists reunited in canon who deceive Artists of speech Who have only one hole for mouth and anus I am the lover of the world The lover of unknown persons I am looking for a Sun. F. PICABIA. April, 1917. Pas De Commentaires! Louis M. Eilshemius. '' Soul.... Soul! Your artists haven't got it; for them things are just chair, or table, or stables. Was it Aristotle who said, 'A picture is a silent poem?' "But you are not seeing my pictures now. .. What is a minute, an hour? Ruskin, (have you ever heard of Ruskin?) found it necessary to look at a picture for a steady week. "I have two thousand pictures—how long do yon suppose it would take an ordinary artist to paint this one?" asked Louis Eilshemius pointing to 'Maidenhood Confronted By Death'— —. This is the first time she has seen death; observe the effect—Horror—! that's quite new—the stormy sky enforces the idea; see how it bursts,— death, that's it, a burst!" We computed that it would take perhaps three weeks to paint such a picture—. "Well it takes me just two hours! I always paint on cardboard, that's new! You can't get such quality on canvas." Wandering round the bountifully endowed studio we found such variety of subject and treatment, as to give us some idea of the scope of this artist's mind. As Rousseau of the French spirit painted in , does Eilshemius of the American spirit paint in America, with the childlike self-faith of a Blake. His conceptions are traditional of the simple soul unhampered by a traditional mode of rep- "SUPPL1CATION" resentation. Eilshemius paints women dancing, moonlight and the devil, and it is significant after tures on your hat or your dress, if you like! — looking him straight in his unspoiled eye, that And I only use five colours, any particular five his princes of darkness are repeatedly the best colours? Certainly not. I'm not one of your tempered, most unsophisticated young devils hocus-pocus painters who have to have certain imaginable, and that his nearest approach to evil colours, certain palettes, certain . I paint is in the symbol of the horn. with my imagination, look at this! Victis—you Eilshemius has not evolved, he has just grown know what victory is? Pressing the other fellow to scatter seeds hap-hazard but at will to blossom down!" in the amazing variations of his pictures, which, Three fine nudes in an evening sky, each with outside every academic or unacademic school, a different coloured ribbon; the one on top, is untouched by theory or "ism," survive as the the one 011 top! "See that one there on the right unique art form that has never been exploited by he's dying; you notice that 011 his face." a dealer, never been in fashion! Hopefully inspired by the granite simplicity His is so virginally the way a picture must of the painter's speech I asked him if he ever be painted by one unsullied by any preconcep- wrote—-"Don't you know who I am—" he tion of how pictures are painted, so direct a pre- gasped ? sentation of his cerebral vision, that between his "Louis M. Eilshemius, M. A. Supreme Protean idea and the setting forth of his idea, the ques- Marvel of the Ages. The Peer of all who create tion of method never intrudes. Painting, Literature and Music." The complicated mechanism that obtains in As 1 am used to do in reading I found by in- other artists a prolonged psychological engineer- tuition the finest passages while skimming the ing of a work of art, is waived; his pictures, if volumes handed to me: one may say so, are instantaneous photographs of his mind at any given moment of inspiration. "How most are sore misled by pope and priest "I am very broad-minded," said Eilshemius, To think that God hath arms and feet and eyes—" "I like everything that is nice, everything," smiling benignly, "that is nice you understand. "And my weird soul hath felt I can paint anything, anywhere, beautiful pic- The whiffs that waved from forth my heart." IN LIGHTED SLEEPNESS.

BLIND .^y

WAKING WAKING

DISTANT CENTER CENTER #

e* V WATESLOW RTAKIN YESTEG RISLAND-OCEA CONTACT'S NSEA SLOS WSHIFTING

TRIANGLE JOYS POINS

INCISOR VISTA YELLOW ^^

FOUNTAIN V*

WIDE IN ALL

FORTH OVER BACK UPSURGING FACTS HEAVY LIGHTNESS BACK OVER

INSURGING RHYTHM SHOUT EARTH SHOUT ALIVES

ALL HIGH LAY LIE RELAY IN

EVEN OPEN PENE SEPARATE REMARK ENLEVEL LEVEL ALWAYS

TON SILENT TONS OVER DOUBLE TONNAGE DOUBLE THRU THRU TON AND TON AND TON SHIFT ALL ALL IN IN THIS BODY BALANCE AND RESURGE

LEVEL LEVEL COOL BIG SAD: IN RUST GOLD DARK DUST HAIR:

DISTANCE

SPREAD NOW NOW, NEW FOREST FRAGRANT FOREST HAIR RESURGING REFORTH

PENET UP

FAR, THRU EYES, AREA

FLOW WATER FEEL DEEP DEEP IN IN FAR FAR FARTHEST

MOUNTAIN MOUNT KATAHDYN FLUX KATAHDYN MOUNTAIN FLUX. ... FLOWER

IN IN, THRU EYES, SLEEP SLUMBER HEAVE Third Dimension; Portrait Sketch Charles Duncan

"Free Verse, why I wrote free verse twenty And it tried to lift long poles." years ago"—1 "Have you no fear of all those boiling waters?" Yet while Eilsheniius exonerates himself from "Nay, I was 'hatched' right on this steaming ever having studied the works of any period earth. whatsoever, there is a something Elizabethian The other place cannot be worse!" she ventured, about him. And in our eyes a twinkle suddenly had birth. I will end this rummage of a gold-mine with Thus questioning, she grew more sweet to me, Eilsheniius when he is most himself—in the for in her voice the poems "A Country Child" and "Maggie the Lay mellow dreaminess, that made my heart Geyser Guide." rejoice. "It dwelled, where I would not to live; Anyhow, Duchamp meditating the levelling of In a hut, with cracks and holes. all values, witnesses the elimination of Sophis- But there it played with wicker and mud; tication. .

She is shortsighted—nevertheless, no detail of life instinct for harmony and rhythm. To her gift of paint- escapes her. ing she adds her literary gift which is always felt in She is sentimental—yet, she has a very acute sense her work.—A drawing of hers, scarcely sketched often of irony and of the ridiculous. tells a long story. She is bourgeoise and respects social conventions She loves her femininity which she exalts and cul- but recognizes no other law than her fantasy. tivates, finding in it her best sources for her inventive- She seems frail and defenseless, but her egotism, ness. unceasingly active, makes her unattackable. The seventeen drawings and watercolors exhibited She has remained a playful and dangerous child at the Modern Gallery have the charm and subtlety even if her vision is clear and wise. which she always imparts to her work, but to me, three She gives herself, reveals herself, opens her life like of those drawings especially reveal her personality: a book but remains impregnable. "The Little Mule" is an astonishing expression of her She loves richesse, elegance and luxury and is fond literary imagination and of her sense of protection.— of the realities of order and economy. The animal has a human expression, the troubled ex- She has been little influenced. Perhaps some Eng- pression of her own eyes—the delicacy of its lines, the lish painters, whose aristocracy she loves, have left elegance of its details, preciously reproduced, evoke some traces in her work.—She does not recognize the mystical personage of a prince encased in the body esthetic conventions.—She recreates the world to her of a beast. image. She does not know but herself, does not repre- "The Lady of the Palms" is an old fashion plate, sent but herself, and even when she copies she does not its complicated architecture charmed her. Her fantasy, express but her own imagination. her sense of form and harmony transported the old In her work, she only loves the accomplished effort, fashion plate into a landscape of palms. being contemptuous of its artistic value. Though she "The two Dancers," by the accuracy and sobriety of does not attempt to go beyond the conventionalist of its traits, by its ensemble and proportions, give the representation, her spirit shows all the comprehention sensation of a moving rhythm. of . She invents according to her fantasy It would be odd to see Marie Laurencin in America. and makes her selections according to her profound GABRIELLE BUFFET.

The Supreme intense gluttony In the grasp of that impenetrable To Cut my throat. blank wall The utter lust to let I Falling Red Blood roll down Might lend at last a line The expectant upturned breasts To pure Monotony. Or what better than Have I courage to keep on The smooth security of Beating out my Brains Tightening rope When Regret should have entered When mass obeying gravity The First Fist? Forfeits Life? To die with flowers? Too soft— Perhaps my upon the sill To burn in perfumed oil? A window Too slow— Coming swiftly down All forces that are not Mine— Would link my consciousness I w ill, I will Hold my Breath— With Queens. And Fell asleep Again a knife And Dreamed I drowned. FRANCES SIMPSON STEVENS.

Let us droop our heads over each other like lilies And our bodies remain long. ALLEN NORTON m

14 THE BLIND MAN 0 Marcel - - - otherwise 1 Also Have Been to Louise's

I don't like a lady in evening is, this is, this is, is IT. dress, salting Do not worry about such things 1 From here she has black eye's, as lighting a match. I give no mouth., some - you my key Clara - HEY - have Will you "bring a perfection, some yellow paper. If carried well "bring a bottle - - - Two away If Clara ever returns it. perfections WELL I want to SEE Well, you did about a week, it - - - he will know it after- after. Here's the salting lady- wards - - - will you bring the I will show her to you - salting bottle. Really, have I? - - . lady. She passed. Do not speak Which way? Oh did'I? WHEN? any more - - - you have to Too much? You are abusing squeeze it, maid of the - - - . myself. No, you would not - - . I used to go every day - - Did you ask Demuth about it? waitress. I feel ashamed in Anything you like, would I? front of this girl - she looks Ough Naow? of course not? Yes at me from far its wonderful - I do. I used to kill myself its wo - onderEULi with the syphon - - -. You Yes, have a drink lady, teaspoon don't remember that ball. Well by teaspoon. No please take don't do that because I am per- this - Do I eat? You know why I fectly sober now - - - - that's have one - I do - I do have it - the kid he looks like - . It I want some tongue I will give will probably cost me very much you some - but don't do too much I have not got money. Did I what? Suck it. Well I don't know say I wanted the bottle all how I will get up early to- right - SEE it! Excuse me, morrow I have a lesson at two - explain it. You don't need any. no not with the "bellemere" You I will give you some paper don't know what a wonderful sen- Mina and keep silent to give sation it is - - - - - I have you a rest. Oh! I will give some preference for some com- you some paper all the same. pany where is our waiter - Very much. He said to me, we where is he it sounds it doesn't will toss whether you resign or he? I resign - - - a very old Mina are you short-hand?, I French story about 'the English never knew it. I want tongue man must shoot first.' She has sandwich, anyway it keeps me a pencil in her hair - very awake. You know, she comes rid- impressionistic. You know you ing school fifty sixth street should have some salt on your you know she comes. Lunch hair it's so nice because? 12 o'clock. Well you know it Nothing - its music. Ah this was. How do you light a cigar- ette - how do you light a match week every key she geta she Did you, well it is not danger- keeps. You speak like Carlo, ous' at all - Did you got it? well when he wants to imitate - Are you an American represen- well have a drink! You know tative -. I am sorry. You are those two girls are crazy about Pennsylvania I am Boston. Do that man, they mustn't, you must you want some cigarettes - - Did get him out. I will have a you put the pronunciation. tongue sandwich - you must suck Waiter! tongue sandwiches. Do it - - - Censorship! Don't let you want hot milk. Two perfec- your flag get wet - - is that tions she doesn't want anything Billy Sunday. One should have - you got it? She can't write had an additional star Billy it down anyway - through the Sunday - There's always a sky flag oh some cigarettes - waiter in heaven! - - - that is too I want some cigarettes for Mina low. My ancestor is tall - this is a wonderful tune Ti people. Don't write, he is going lis li laera Mina I give you to leave you for a minute. two dollars, it means to me two Sandwiches - Oh I forgot to dollars - Ti li li laera - - it telephone - what shall I say. is twice I need to shave now. Ti li li laere - she said - all Demuth you must "be careful of right! your key she keeps it aToout a Compiled "by Mina Loy

291 Fifth Ave., New York the Society would not be playing into the hands April 13, 1917. of dealers and critics, nor even into the hands of My dear Blind Man: the artists themselves. For the latter are influ- You invite comment, suggestions. As I un- enced by names quite as much as are public and derstand the Independent Society its chief func- critics, not to speak of the dealers who are only tion is the desire to smash antiquated academic interested in names. Thus each bit of work would ideas. This first exhibition is a concrete move stand on its own merits. As a reality. The pub- in that direction. Wouldn't it be advisable next lic would be purchasing its own reality and not year during the exhibition, to withhold the names a commercialized and inflated name. Thus the of the makers of all work shown. The names, Society would be dealing a blow to the academy if on the canvases, or on the pieces of sculpture, of commercializing names. The public might etc., exhibited could be readily hidden. The gradually see for itself. catalogue should contain, in place of the names Furthermore I would suggest that in next of artists, simply numbers, with titles if desired. year's catalogue addresses of dealers should be On the last day of the Exhibition the names of confined to the advertising pages. The Indepen- the exhibitors could be made public. That is each dent Exhibition should be run for one thing- number would be publicly identified. A list of only : The independence of the work itself. The the identified numbers could also be sent to the Society has made a definite move in the right purchasers of catalogues. To no one, outside of direction, so why not follow it up with still more the committee itself, should any names be di- definiteness. vulged during the exhibition. Not even to those NO JURY—NO PRIZES—NO COMMERCIAL wishing to purchase. In thus freeing the exhi- TRICKS. bition of the traditions and superstitions of names . Perhaps—

THE BLIND MAN may become a Bourgeois Galleries

monthly—perhaps a quarterly— 668 FIFTH AVENUE perhaps a yearly— NEW YORK

All depending on contributions, literary and financial.

Brave people who like to run risks may send to THe BLIND MAN five dollars as subscription Old and Modem and encouragement. Paintings

33 WEST 67TH STREET

Paintings by American Modern Gallery

Artists of Today: 500 FIFTH AVENUE, NEW YORK

BURLIN MARIN DAUMIER DEMUTH McFEE CEZANNE DICKINSON MILLER LAUTREC FISK MYERS VAN GOGH GLACKENS NORDFELDT PICASSO HALPERT PRENDERGAST BRANCUSI HARTLEY MANRAY PICABIA KENT SCHUMACHER DERA1N KUEHNE WALKOWITZ MARIE LAURENCIN LAWSON WORTMAN MANOLO LEVER M. ZORACH BURTY MAGER and VLAMINCK MANIGAULT W. ZORACH RIVERA BRAQUE

The Daniel Gallery Mexican Pre-Conquest Art 2 West 47th St., New York African Negro Sculpture •