The kinds of connections among artists as represented in these photographs include:

• Acquisition of one artist’s work by another
• Appropriation of ideas and images of one artist by another
• Art-world schema that names artists and art movements
• An artwork that appears in the work of another artist
• Caricature of one artist by another
• Colaboration/partnership among artists
• Communities of artists will overlapping members
• Critique of a work of art expressed in another artist’s work
• Dedication of an artwork to another artist
• Gift of an artwork from one artist to another
• Group portrait of several artists
• Homage to one artist by another
• Letter from one artist to another
• Pictographic index to many artists or artworks
• Portrait of one artist by another
• Quotation of text by another artist in an artwork

After making a successful photograph, I often am inspired to read about the artists’ works and lives and to choose quotations to accompany selected photographs. These brief texts are meant either to elucidate the character of an artist or to comment about his/her work.

Robert Heinecken’s Muybridge print (Eadweard Muybridge, 1887)
“Nude Descending a Staircase”

50ccs of Paris Air
(Marcel Duchamp, 1919)
Gift to Walter Arensberg

In the background:
Glider Containing a Water Mil in Neighboring Metals
(Marcel Duchamp, 1913–15)
Duchamp's first artwork on glass

Apolinère Enameled
(Marcel Duchamp, 1916)

Postal Voyages, Alighiero Boetti, 5 of 19 envelopes addressed to Marcel Duchamp, Leo Castelli, et al., 1969-70

Boetti devised imaginary travel itineraries for twenty-five friends and artists. He mailed envelopes addressed to each of them at their first destinations. These were inevitably returned to him since the recipients were not actually there. Boetti then placed photocopies of the returned envelopes inside larger envelopes and mailed them to subsequent stops on the imaginary routes. He continued this process for further stops.

—From the curator's label

Nineteen envelopes survived these voyages and were included in Boetti's MoMA installation, Five of the nineteen appear here.

Picabia Portrait of Apollinaire, 1917

In my arrival on earth I found humanity on its last legs, devoted to fetishes, bigoted, barely capable of distinguishing good from evil—and I shall leave it intelligent, enlightened, regenerated, knowing there is neither good nor evil nor God nor devil nor spirit nor matter in distinct separateness.

—The character Dr. Cornelius Hans Peter    from Apollinaire’s novel, Que Faire, 1900

Picabia Portrait of Stieglitz, 1915

Man made the machine in his own image. She has limbs which act; lungs which breathe; a heart which beats; a nervous system through which runs electricity. The phonograph is the image of his voice; the camera the image of his eye. The machine is “his daughter born without a mother.”

—Paul Haviland, “291” magazine, 1915

Georgia, (After Stieglitz, 1918), Elizabeth Peyton, 2006.

The portrait of Alfred Stieglitz in the lower left corner is a detail of a photograph by Arnold Newman, Georgia O'Keefe and Alfred Stieglitz, 1944

Marcel Duchamp: Fountain
(William Camfield, 1989)
Cover Photograph by Alfred Stieglitz, 1917, with Marsden Hartley’s The Warriors as Background

Duchamp saw the artist as a readymade to be moved through the market like a chess piece on a grid.

—David Joselit, The Société    Anonyme: Modernism for America, 2006

The Holy Bible: Old Testament
(David Hammons, 2002)

Appropriating The Complete Works of Marcel Duchamp, Arturo Schwarz , 1970 and L.H.O.O.Q, Marcel Duchamp,1919.

Petit Dada (Richard Boix, 1921)
Société Anonyme—NY Modern Art Group

Marsden Hartley’s lecture at the April meeting: “Do You Want to Know What a Dada Is?” Mrs. Claire Dana Mumford, a painter, author, and psychologist enlisted by Katherine Dreier to represent the opposition, began by berating the Dadaists. Joseph Stella, the Cubist, was seated in the center of the room with a group of friends and apparently found it difficult to take this seriously. The lady broke off suddenly and said, “I wish that fat man,” indicating Mr. Stella, “would say something. He has been annoying me during my reading by laughing.” Miss Dreier, the president of the Société Anonyme, thinking to pour oil upon troubled waters, arose and said, “Why, I thought this was to be a funny evening,” but Mrs. Mumford, who now appeared to be distinctly ruffled, said, “Well, why cannot somebody explain to me what these dreadful pictures on the wall mean, if they mean anything at all?”

—From a press report on the   Société Anonyme meeting of April 1, 1921

Detail of Neutral Calibration Studies (Ornament + Crime), Stephanie Syjuco, 2016, incorporating a cutout portrait of Meret Guggenheim by Man Ray

Laser-cut wood, archival Epson prints, digital fabric prints, live and artificial plants, mixed media

Indestructible Object
(Man Ray, 1923/1932/1964)
Eye of Lee Miller

Cut out the eye from the portrait of one who has been loved but is seen no more. Attach the eye to the pendulum of a metronome and regulate the weight to suit the tempo desired. Keep going to the limit of endurance. With a hammer well aimed, try to destoy the whole at a single blow.

—Man Ray, This Quarter, September, 1932

Joseph Cornell with One of His Objects
Portrait by Lee Miller, 1933

It gives me great pleasure to remember how many detours I had to make, along how many walls I had to grope in the darkness of my ignorance until I found the door which lets in the light of truth.

—Johannes Kepler, as translated by Arthur    Koestler in The Sleepwalkers, one    of Joseph Cornell’s favorite books

Enchanted Wanderer (Joseph Cornell)
Excerpt from a Journey Album
for Hedy Lamarr (background portrait by Giorgione ca. 1500)
View Magazine, December, 1941

She will walk only when not bid to, arising from her bed of nothing, her hair of time falling to the shoulder of space. If she speak, and she will only speak if not spoken to, she will have learned her words yesterday and she will forget them to-morrow, if to-morrow come, for it may not.

—Parker Tyler as quoted by Joseph Cornell

Échiquier Surréaliste
(Man Ray, 1934)
Surrealist Chessboard (press print)

André Breton, Max Ernst, Salvador Dali, Hans Arp, Yves Tanguy, René Char, René Crevel, Paul Éluard, Giorgio De Chirico, Alberto Giacometti, Tristan Tzara, Pablo Picasso, René Magritte, Victor Brauner, Benjamin Péret, Gui Rosey, Joan Miró, E.L.T. Mesens, Georges Hugnet, Man Ray

It is above all our differences that unite us.

—André Breton, ca.1920

La Fortune (After Man Ray)
(Sherrie Levine, 1990)

The success with which the artist is able to conceal the source of his inspiration is the measure of his originality.

—Man Ray, “Photography Is Not Art,” 1937

A Pipe (Sherrie Levine, 2001)
après René Magritte,“Ceci n’est pas une pipe”

An object encounters its image, an object encounters its name. It happens that the image and the name of this object encounter each other.

—René Magritte: "Word Versus Image,"   Sidney Janis Gallery, New York, 1954

Digital-pigment print, 16"x12"
Museum of Modern Art, New York, 2008

Untitled (Cubism and Abstract Art by Alfred Barr) (Steve Wolfe, 1997) — oil, lithography ink and modeling paste on paper, mounted on wood and canvasboard. Barr's book was published in 1936.

Digital-pigment print, 16"x12"
Axiom Contemporary, Art Market, San Francisco, 2016

Alfred Barr feeding the pigs at Farley Farm, “The Home of the Surrealists.” Photograph by Lee Miller, 1952

How to Look at Modern Art in America,
Ad Reinhardt, 1946, cartoon for the New York Tabloid P.M.

The one thing to say about art is that it is one thing. Art is art-as-art and everything else is everything else...

—Ad Reinhardt, introduction to the    catalog of his 1966 retrospective    at the Jewish Museum, NY

Transformed (Picasso),
Nicholas Knight, 2005.

Digital-pigment print, 12"x16"
Met Breurer Museum, New York, NY, 2016

Head: Study for a Monument for Apollinaire's Tomb, Pablo Picasso, 1929,
unfinished Painting.

When the writer Guillaume Apollinaire died in 1918, Picasso was commissioned to create a sculpted mounment for his friend's grave. More than a decade later, he was still searching for the form the memorial should take. This work is one among many sketches and paintings he created for the commission. He was inspired, perhaps, by one of Apollinaire's essays about a monument for a dead poet consisting of nothing but poetry and fame.

—Curator's label

Sketch for Cups 2 Picasso/Cups 4 Picasso, Jasper Johns, 1971-1972

I remember the first Picasso I ever saw.… I could not believe it was a Picasso. I thought it was the ugliest thing I’d ever seen.… I didn’t realize I would have to revise my notions of what painting is.

—Jasper Johns

Portrait of Lee Miller L’Arlésienne (The Girl from Arles), Pablo Picasso, 1937

Picasso/Woman with Flowered Hat
Matisse/The Artist’s Studio: The Dance,
Richard Pettibone, 1970s,
two miniature Roy Lichtensteins.

RP: What's the reason for art? To entertain. If you don't do that, what's the point? IB: So the role of the artist is entertainer? RP: I think that's part of it. What's so funny? IB: That's not an answer I hear very often—you might get in trouble for that one. RP: Oh no! Not the principal's office!

—Ian Berry conversation with Richard Pettibone    Richard Pettibone: A Retrospective    Skidmore College & Laguna Art Museum, 2005

Digital-pigment print, 16"x12"
Photographed at the Getty Research Institute, Barbara Rose papers, 2014
 

Digital-pigment print, 12"x16" 
Photographed at the San Francisco
Museum of Modern Art, 2016
 

Cedar Bar,
Red Grooms, 1986

Holy, Holy Art Cards, Fancy Assorted Christmas Selection, Don Celender, 1972,
12 cards from the pack of 50.

Helen Frankenthaller Jim Dine Clyfford Still Jean Dubuffet Mark Tobey Robert Motherwell	Pablo Picasso Donal Judd Francis Bacon Andy Warhol Elaine de Kooning Lee Krasner
Modern artists are history-minded, science-minded, and social-minded. They are religious but not ecclesiastical, reverent but not superstitious, theologically agnostic and yet loyal to essential human values.
—Albert E. Bailey    Art and Character, 1938    (Verso of Francis Bacon art card)

35¢ Masterworks, Wayne Thiebaud, 1972

Baseball Photographer Trading Cards,
Mike Mandel, 1975, 89 cards and one duplicate from the pack of 134.

Ansel Adams Jim Alinder Harold Allen Oscar Bailey Duke Baltz Michael Becotte John Benson Mike Bishop Don Blumberg Manuel Bravo Ellen Brooks Wynn Bullock Pete Bunnell Harry Callahan Cornell Capa Carl Chiarenza Van Deren Coke Al Coleman Linda Connor Eileen Cowin Arnold Crane Bob Cumming Imogen Cunningham Darryl Curran Liliane DeCock Jacob Deschin John Divola Robert Doherty Jim Dow Don Drowty	Elliott Erwitt Bob Flick Dave Freund Arnold Gassan Len Gittleman Emmet Gowin Betty Hahn Jim Hajicek Bobby Heinecken Nick Hlobeczy Scott Hyde Joe Jachna C. Jansen Bill Jenkins Ken Josephson Gus Kayafas Les Krims Nathan Lyons Mike Mandel Duane Michals Barbara Morgan Joyce Neimanas Bea Nettles Beaumont Newhall Anne Noggle Cal Nowal Ira Nowinski Bill Owens Timo Pajunen Bart Parker	Linda Parry Tom Porett C. J. Pressma Doug Prince Lee Rice Charley Roitz Eva Rubinstein Ed Ruscha Naomi Savage John Schulze Arthur Siegel Ed Sievers Art Sinsabaugh Aaron Siskind Hank Smith Fred Sommer Larry Sultan Chuck Swedlund Al Sweetman Edmund Teske Jerry Uelsmann R. vonSternberg Todd Walker Jack Welpott Ed West Minor White Lee Witkin Al Woolpert Bunny Yeager

Money Thrower for Jean Tinguely's Homage to New York,
Robert Rauschenberg, 1964

Portrait Relief I: Arman,
International Klein Blue (IKB),
Yves Klein, 1962,
painted bronze body cast.

Painting for Kubler,
John Baldessari, 1968

We always may be sure that every man-made thing arises from a problem as a purposeful solution. A work of art, which is a complex of many stages and levels of crisscrossed intentions, is always intrinsically complicated, however simple its effect may seem. We are in the presence of a work of art only when it has no preponderant instrumental use, and when its technical and rational foundations are not pre-eminent.

—George Kubler, The Shape of Time

Nadar Raising Photography to the Height of Art, Honoré Daumier, 1863,
Nadar (Gaspard-Félix Tournachon), photographer and balloonist

Manhatta, 1921,a filmic collaboration of photographer Paul Strand and painter Charles Sheeler, with excerpts from the writings of Walt Whitman.

American Unity Mural,
Diego Rivera, 1940,
Frida Kahlo, Diego Rivera, Paulette Goddard

“Paulette Goddard,” Diego said, “stands for American girlhood.”
"Why," curious reporters demanded, "are you and she holding hands?"
“To promote closer Pan-Americanism,” he replied.

Digital-pigment print, 12"×16"
Photographed at the studio of Josh Partridge
and the Imogen Cunningham Trust, 2006