Inferior Quotations

IQ: You can watch A Conversation with Marcel Duchamp on YouTube.

Male Voice: In the Philadelphia Museum of Art is a collection of paintings an’ objects by a man whose unique view of life has greatly influenced modern art.

James Johnson Sweeney: So here you are Marcel looking at your big Glass.

Marcel Duchamp: Yes, an’ the more I look at it the more I like it th’ I like the breaks, the way they come, the cracks. You remember how it happened in nineteen-twenty-six?

James Johnson Sweeney: Yes I remember hearing.

Marcel Duchamp: In uhh Brooklyn they put the two panes on top of one an other on a truck, flat, not knowing they what they were carrying, an’ bouncing for sixty miles in Connecticut. So that’what happened but the more I look at it the more I like the cracks because they’not like shattered glass. They have a shape. There’s a symmetry in the cracking. The two crackings are symmetrically dis-duh-duh disposed and there’s more int- almost an intention there, uh an extra how curious intention that I’m not responsible for, readymade intention in other words, that I respect an’ love.

James Johnson Sweeney: But it is it was one of your biggest undertakings, most ambitious.

Marcel Duchamp: By far it is, an’ I worked eight years on it, an’ it is not finished.

James Johnson Sweeney: Ohh.

Marcel Duchamp: An’ don’t know whether it will ever be finished. But now I’ll show you some finished things, come along.

White Chisely Sans Serif:
The
NATIONAL
BROADCASTING
COMPANY
      Presents
A
CONVERSATION
With
MARCEL DUCHAMP
and
JAMES
JOHNSON
SWEENEY
Director of the
Solomon R. Guggenheim Museum
in New York City

James Johnson Sweeney: There’s the Chocolate Grinder.

Marcel Duchamp: Yes uh one o’the two I made, and um the third one is on The Glass its self.

James Johnson Sweeney: You had several versions of the eh Nude Descending a Staircase too didn’choo?

Marcel Duchamp: Yes uh three had three but this one is the real the first one that was shown at the Armory Show.

James Johnson Sweeney: The one the newspaper man called an explosion in a shingle factory.

Marcel Duchamp: Hah! Yes, yes, that was a really a great a great line he put about it.

James Johnson Sweeney: C’-C’est de scandal now.

Marcel Duchamp: C’-C’est de scandal yes, an’ this is um Boxing Match, a drawing that I never use’ in fact it’s for The Glass, I never used it I felt ’twas not uh quite what I wanted.

James Johnson Sweeney: It must be a great satisfaction to you to have so many versions and s-so much of your work in one collection such as uh you find here in the Philadelphia Museum.

Marcel Duchamp: Oh, wonderful it is you know i’s just, I always felt that showing a one painting in one place and other place is just like amputating one finger each time or a leg. Here I feel at home, my house, an’ I’ve-I’ve never had really such a really a feeling of complete satisfaction as—

James Johnson Sweeney: Well I can understand how an artist would feel about that. Marcel these don’t seem y-your earliest work at all.

Marcel Duchamp: No no no, the earliest is this one’n the corner, the Church. That was done in my village in nineteen-two.

James Johnson Sweeney: How old were you?

Marcel Duchamp: I was uh fifteen then. And uh then it uh I went on an’ I’ve some more of that period but I’ve they’re not here.

James Johnson Sweeney: It’s rather Impressionist, isn’t it?

Marcel Duchamp: It’s-it’s c—

James Johnson Sweeney: Is that—

Marcel Duchamp: Mhmm.

James Johnson Sweeney: —what was the vogue in..

Marcel Duchamp: Yeah well it was the not the vogue it was the only thing we talked about, you see I mean it was..

James Johnson Sweeney: It was advanced.

Marcel Duchamp: Yeah ’twas advanced an’ yet even when you see these two which are later, already Impressionist has gone down in uh vogue, so..

James Johnson Sweeney: They’re more structural.

Marcel Duchamp: They’re more structural an’ Cezanne has been recognize’ then, an’ Cezanne is the great man an’ I was influenced by Cezanne in those two paintings, see? This is my br- my two brothers playing chess in the garden an’ thi’s my father.

James Johnson Sweeney: W’the whole family were painters your sister an’ brothers?

Marcel Duchamp: One sis- one sister paints yes but uh especially my-my brother, Villon, paints.

James Johnson Sweeney: Well did theyy bring you in to this uh Cezanne uh Impressionist?

Marcel Duchamp: No no no it was all on my you know on my own. No I—

James Johnson Sweeney: Just in the air?

Marcel Duchamp: In the air, especially yes. Yeah. An’ my father was very nice about it in fact. It was very difficult uh then as it is now to become a painter on your own uh how can you expect to live et cetera et cet’ra so, he was a good man.

James Johnson Sweeney: He looks patient to have set that portrait up.

Marcel Duchamp: Yeahah.

James Johnson Sweeney: There seems to be a quite a step between this an’ the Nude Descending a Staircase.

Marcel Duchamp: Yes, the Nude was uh two years later.

James Johnson Sweeney: Nineteen-twelve.

Marcel Duchamp: Nineteen-twelve, an’ it was after these that I decided that no more obvious influences as I had before I wanted to at least be with living in my day an’ my day was Cubism. See nineteen-ten -eleven -twelve, Cubism was.. in its childhood and I.. the approach was so different from the previous movements that I was very much attracted toward it, and I began being a.. C-Cubist painter an’ finally I came to the Nude.

James Johnson Sweeney: The Nude how ever ’as some thing of movement in it that the Cubists didn’t—

Marcel Duchamp: Yeah.

James Johnson Sweeney: —seem to be—

Marcel Duchamp: Yes.

James Johnson Sweeney: —interested in.

Marcel Duchamp: That’s it. You see then there was also Futurism at tha’ time.

James Johnson Sweeney: The Italians.

Marcel Duchamp: Italian Futurism. But I di’n’t know about it.

James Johnson Sweeney: You weren’t in Munich. Uh you were in..

Marcel Duchamp: In-in-in Italy no I never knew any. See the uh famous Futurist show in Paris was in nineteen- January ni-nineteen-twelve when I was painting this—

James Johnson Sweeney: I see.

Marcel Duchamp: —so i hadn’t seen it. There’s a coincidence there, of course you might say it’s ’twas in the air. But I kn’ I didn’t actually know the Futurists an’ but I did this painting with the idea of using movement as one of the elements in it, and uh next year the following year, I sent it uh at the invitation of American painters Davis and Walter Pach.

James Johnson Sweeney: It was an event in American—

Marcel Duchamp: I know but I’m I—

James Johnson Sweeney: —history too...

Marcel Duchamp: —I know but I it’s only now that even now that we know it, forty years later, at the moment it might have been an explosion of a successful eh week or ten days an’ finished an’ uh offered pie, mm.!?

James Johnson Sweeney: Yes..

Marcel Duchamp: But uh it-it went on then that was not enough for me I went on with the idee that all right, I had done what I could with Cubism in my opinion, an’ immediately wan’ed to change. This idea of changing, not repeating myself I could have done ten nudes prob’ly at that time if I wan’ed to d’ I decided not to go that, that was that will come in to an other discussion prob’ly about why I did that but I went immediately in to an other formula which is the formula of th’-um the uh..

James Johnson Sweeney: Chocolate.

Marcel Duchamp: Chocolate Grinder. I was in Rouen in one o’the shops, showing through the glass a real an actual chocolate grinder, that a manufacturer of chocolate showed his chocolate grinder in a window an’ it amu-amused me so much an’ I took it as a as a d’ point of departure.

James Johnson Sweeney: But what was different in your uh point of view here than in any normal still life of a chocolate grinder, was it a mechanical interest—

Marcel Duchamp: Yes—

James Johnson Sweeney: —is that what?

Marcel Duchamp: —of course the mechanical side of it, eh um uh influence’ me then o’ at least that wa’ also the point of departure of a new form of technique. I couldn’t go in to the haphazard drawing that, or the Fauves, or the painting the splashing o’th’paint or any th’. I wanted to go back to an a completely dry drawing, dry um conception of-of art, an’ the mechanical drawing for me was the-the best form of that dry form of art.

James Johnson Sweeney: Accuracy, precision—

Marcel Duchamp: Accuracy, precision, no more nothing of that handiwork, uh..

James Johnson Sweeney: Chance?

Marcel Duchamp: Chance, well—

James Johnson Sweeney: Values..

Marcel Duchamp: —chance is an other question but I mean in that actual drawing the precision that ah could be could not be even uh liked by all the people who liked Impressionism an’ all this it was a new uh-eh-uh decision on my part to get away from even Cubism then, after a year o’that… so this is a an’ this was the real beginning for The Large Glass.

James Johnson Sweeney: At the time you did this was there no notion of what was coming?

Marcel Duchamp: No, no, that wa’—

James Johnson Sweeney: This is..

Marcel Duchamp: —but I was already beginning to make a definite plan, complete plan for the whole glass an’ the chocolate grinder-grinder was one point and then came the sliding machine on the side. All this was supposed, and was drawn in -thirteen an’ -fourteen.. eh on-on paper—

James Johnson Sweeney: Planned out.

Marcel Duchamp: —an’ planned out because it was based on a perspective view meaning complete uh control of the placement of things, it w’ it couldn’t be hap’arzadly or changed afterwards, it had to go through as according to plan so to speak.

James Johnson Sweeney: Well I imagine you feel that the Chocolate Grinder heralded some thing in your work, some thing of that break you’ve often told me about.

Marcel Duchamp: Yes it was really a very important moment in my life. I had to make great decisions then. I made a great one by saying to my self No more painting, you get a job. An’ I looked for a job in order to get enough time to paint for my self, an’ I got a job as a librarian in Paris in the Bibliothèque Sainte-Geneviève. An’ this was a wonderful job because you had so many hours free in the day.

James Johnson Sweeney: You mean painting for your self not merely to please other people was—

Marcel Duchamp: Exactly. An’ that of course uh led me to this conclusion that you eīther are a professional painter or not. There are two kinds of artists. The ones there are the artists that deals with society, is in- uh integrated in society an’ the other artist the completely freelance artist who has nothing to do with your, no bonds, and—

James Johnson Sweeney: The man, you mean the man in society has to make certain compromises—

Marcel Duchamp: Com..

James Johnson Sweeney: —to please them an’ to live is that is that what you why you too-took the job.

Marcel Duchamp: Exactly. Exactly, I w’ I didn’ want to depend on my painting for a living.

James Johnson Sweeney: Well didn’t you have a certain income from your father.

Marcel Duchamp: Enough to lives, if you want, s’ yes, enough to, mmy father was very nice about that, he always helped us ’long—

James Johnson Sweeney: All the three of you, all-all three of you.

Marcel Duchamp: All the three of us, yes, long after we were of age I mean as long, an’ he had a very funny uh idea. He said Alright I’ll give you what you want but don’t forget we are s- we have we have three sisters and three broth’r, so what ever you get during my life-time you never get after my death as an inhe-inheritance. So all these sums that he had added carefully were sub- the did uh deducted uh-uh subtracted from what we got after his death you see ’twas a very amusing French idea.

IQ: It sounds like an off-voice kinda whistly guttural Mmhm from Marcel, or probably not the movement of a DCM glide against the floor, but it’s some sound difficult to assign with certainty. Also I don’t think he’s about to say defini- but I can’t make that out either.

James Johnson Sweeney: Well at least it uh helped you over the bumps in the beginning.

Marcel Duchamp: Oh why defini- surely.

James Johnson Sweeney: Well Marcel when you speak of uh your disregard for the broad public an’ say you’re painting for your self, wouldn’t you accept that as painting for the ideal public, for a public which should appreciate you if they would only make the effort to.

Marcel Duchamp: Yes in deed. It’s only a way of putting my self in the right position for that ideal public because the danger is to please an immediate public, th’immediate public that comes aroun’ you an’.. takes you in an’ accepts you an’ gives you success an’ ev’ything. In stead of that if you wait for your public that should come fifty years, a hundred years after your death, that’s the right public I want.

James Johnson Sweeney: It’s a rather ascetic attitude I can see that you I-I don’t think you ever felt that uh—

Marcel Duchamp: No.

James Johnson Sweeney: —a person was justified in taking the uh an ivory tower attitude—

Marcel Duchamp: No.!

James Johnson Sweeney: —an’ disregarding the intelligent and sympathetic public.

Marcel Duchamp: No ivory tower in my idea at all.

James Johnson Sweeney: I remember a line in an.. a piece by Henri-Pierre Roché in which he uh referred to you as saying that you were always careful to find a way to contradict your self. I imagine by this you mean you were trying to avoid repeating your self. Is this right?

Marcel Duchamp: You see the danger is to-to lead your self in to a form of taste, even-even-even in uh in the Chocolate Grinder that—

James Johnson Sweeney: Taste then is some thing that repeats some thing else that has been accepted? Is that what you mean?

Marcel Duchamp: Exactly, it’s a it’s a habit, it’s a repetition of the same thing long enough to become taste. If you cut it shortly I mean after you’ve done it then it becomes it stays as a thing by its self but if it’s repeated a num’ a number of times it becomes a taste.

James Johnson Sweeney: An’ good taste is—

Marcel Duchamp: No.

James Johnson Sweeney: —what’s approved an’ bad taste—

Marcel Duchamp: Yes.

James Johnson Sweeney: —is the same repetition—

Marcel Duchamp: Yes.

James Johnson Sweeney: —but it’s not approved, is that what you mean?

Marcel Duchamp: Yes good or bad is of uh of no importance because it’s always good for one an’ bad for the other, eh the-th-the uh quality is not important, but ’s taste any way.

James Johnson Sweeney: Well how woul’ did you find a way to get away from good or bad taste in your personal expression?

Marcel Duchamp: By no, in that technique of the mechanical technique there was no taste possible I mean really a mechanical drawing has no taste in it.

James Johnson Sweeney: Because it was divorced from the conventional uh expression in the painting.

Marcel Duchamp: Exactly exactly. At least I thought so at that time an’ I do think today the same way.

James Johnson Sweeney: Then does this divorce from human intervention in drawing an’ painting have its relation with uh the uh interest you had in readymades?

Marcel Duchamp: Naturally, as a sort of conclusion or c-consequence of dehumanization of the of the work of art, in s-such a point that I came to the idea of the readymades I call them readymades you see, name for them an’ let me show you. This is um a readymade bird cage with if you see me I-I having a hard time because this is not sugar this is marble an’ it weighs a ton, an’ that was one of the elements that interested me when I made it you see, it’s readymade an’ the sugar is changing to marble, it’s a sort of mythological effect. This is a readymade of dating back from nineteen-sixteen. It’s a ball o’twine between two plaques of copper, bron’ brass. An’ when I before I finished it Arensberg put some thing between inside the ball of twine the ball of twine an’ never told me what it was an’ I didn’t wan’ to know it was a sort of secret and it makes a noise so w-we call this readymade with a n’ secret noise an’ listen to it… I’ll never know I don’t know I will never know whether it’s a diamond or a coin.

James Johnson Sweeney: You didn’ meet Arensberg till you came to the United States, did you?

Marcel Duchamp: No, I came in nineteen-fifteen an’ that was my first meeting with him. Walter Pach t-took me to his house with c’ eh coming out of the boat—

James Johnson Sweeney: Ah I see.

Marcel Duchamp: —he came on the boat, an’ it was a very long life friendship with him.

James Johnson Sweeney: Was Arensberg him self a painter?

Marcel Duchamp: No, he was a poet, he was a poet w’ connected with the school of the Imagists in England...

James Johnson Sweeney: Aitch-Dee, an’—

Marcel Duchamp: Yeah.

James Johnson Sweeney: —and uh Richard Aldington?

Marcel Duchamp: Yes, all these, an’ they had the magazine here with Kreymborg, Alfred Kreymborg, Wallace Stevens, called Others an’ they published that magazine of poetry.

James Johnson Sweeney: Didn’e publish some magazines ’im self that—

Marcel Duchamp: Yes.

James Johnson Sweeney: —connected with your—

Marcel Duchamp: Yes an m’ two-two—

James Johnson Sweeney: —group, or your friends?

Marcel Duchamp: —yes two amusing magazine only had one issue unfortunately. One was called Rongwrong an’ the other one was called The Blind Man it was really—

James Johnson Sweeney: They were Dadaists.

Marcel Duchamp: Yes, they were on.. they were inspired by the Dada.

James Johnson Sweeney: Was it more of a literary movement—

Marcel Duchamp: Yes.

James Johnson Sweeney: —perhaps than—

Marcel Duchamp: Yes, it was more literary, that’s it. It was not a no more to do with plastic art a-as such, no more um considerations of technique orrr you know a là as to all the schools before had, i-in fact it was negation, a refusal to accept any thing like that, to deny any preoccupation of um of theor-theoretical interest you see? So, uh the, the.. the Dada movement impasse was completely li- became completely literary an’ in fact became The Surrealism in nineteen-twen’y-three—

James Johnson Sweeney: I see, so..

Marcel Duchamp: —when they when they got of course as usual, a group of people don’t get together very long an’ two years or three years of it was enough an’ they began fighting together, they hated each other, so they dispersed an’ became another group from its self on the ashes of Dada to become the Surrealists.

James Johnson Sweeney: But your group in America, I mean the Arensberg group, was associated with several other groups, wasn’ it?

Marcel Duchamp: Th-there was for example Katherine Dreier, who was also a patron of art, an’ she started a museum uh called w’ Société Anonyme an’ the Société Anonyme was a group a museum to bring from abroad paintings to get a sort of a communion of art from the from the two sides an’ of Modern art, an’ it was quite successful then.

James Johnson Sweeney: At least several groups uh-eh-uh I imagine laid a certain foundation for an understanding of contemporary European art—

Marcel Duchamp: Oh completely, completely.

James Johnson Sweeney: —in this country much before other activities.

Marcel Duchamp: Yes, yes, it was it was uh from then on that modern America was absolutely Modern-art conscious that which never had happened before.

James Johnson Sweeney: I see, well sh’ uh Katherine Dreier also owned your Large Glass which we were looking at a little while ago.

Marcel Duchamp: Yes, yes, she at the time when the Arensbergs who had The Glass for a while for first had The Glass when it was almost finished but never was finished, uh in nineteen-twen’y -twen’y-one when they left New York for California they di’n’t want to take the Glass along because it was too fragile an’ ex- couldn’t expect to transport it very easily an’ so she, Katherine Dreier s’ bought it from them an’ she had it all the rest of her life.

James Johnson Sweeney: Marcel from what you say, The Glass was never really finished.

Marcel Duchamp: No. No the last uh time I worked on ’twas in -twen’y-three.

James Johnson Sweeney: Still it remains a-a sort of—

Marcel Duchamp: Unfinished.

James Johnson Sweeney: —unfinished epic as I see it.

Marcel Duchamp: Yes.

James Johnson Sweeney: And uh-uh also for me it seems to indicate that you were never really uh dedicated to conventional painting in the ordinary sense o’the word. Yehh you were happy enough to do this, you were happy enough to leave it, you were happy enough to choose bottle racks for as uh..

Marcel Duchamp: Readymade.

James Johnson Sweeney: —uh readymades and uh fill bird cages with marble—

Marcel Duchamp: Yeah.

James Johnson Sweeney: —to deceive uh those who thought it was sugar. Eh I imagine that there’s something broader in your concept of what art is than jus’ painting, is that what you’re uh—

Marcel Duchamp: Yes.

James Johnson Sweeney: —feel your self, I don’t like to put words in your mouth an’ this—

Marcel Duchamp: No, no, no..

James Johnson Sweeney: —but I have often thought about it.

Marcel Duchamp: Yes, it was really I considered painting as a means of expression, not an aim, an’—

James Johnson Sweeney: One means of expression.

Marcel Duchamp: One means of expression in stead of an aim, a complete uh aim uh for life at all, the same as I consider that color is only a means of expression in painting it’s it shouldn’t be the-the last aim of painting in other words painting shouldn’t be not on-only retin-retinal, or visual, it should be to have to-to do with the gray matter of our understanding in stead of purely visual you see, so-so it’s the same thing with my life in general I didn’ wan’ to pin my self down to one little circle, an’ I tried at least to be as general as I could an’ that’s for example that’s why I uh did when I took up chess. Chess in its self is a hobby is a lil’ game, ev’ybody can play chess an’ but I took it very seriously an’ enjoyed it because I found some common points between chess an’ painting actually when you play a game of chess it’s like desiign something or constructing some m-mechanism of some kind by which you win or lose it doesn’t the competitive side of it has no importance, but thing itself is very, very plastic an’ that prob’ly what attracted me t’the game.

James Johnson Sweeney: You mean by that an uh an enjoyment, a sort of fuller living, that is to say an other form of an expression?

Marcel Duchamp: Yes it uh at least it was another facet of the same kind of a-a m-mental expression, intellectual expression. One small facet if you wan’ but it was just enough different to make it an other f’ to make it an other facet an’ then add to the to the to the body of my life.

James Johnson Sweeney: Marcel you spent quite a bit of time in the late nineteen-thirties an’ the early nineteen-forties on your Valise do you regard that as a distinct personal expression also?

Marcel Duchamp: Yes, absolutely absolu’, it’s-it’s a new form of a expression for me ’twas in stead of painting some thing it was to use a reproduction of those paintings that I loved so much in to a small f’ reduc-reduced form in’o a small f’ shape, an’ how to do it I didn’know I thought a book, which I didn’ like so I thought of the idea of a box in which they would be mounted like in a-a small museum, portable museum so to speak an’ there it is in this um valise.

James Johnson Sweeney: It’d be a sort of a readymade-helped as you call it?

Marcel Duchamp: Readymade-help yes. See it opens this way. Out it goes an’ then we have rest of it in this, in—

James Johnson Sweeney: Practically all your work is in here.

Marcel Duchamp: Practically all of it I think very few things are missing. You see this um Rotorelief...

James Johnson Sweeney: What is it is it a disc that uh..

Marcel Duchamp: Yes it’s-it’s a series it’s twelve drawings, diff’rent drawings, based on this spiral uh eh..

James Johnson Sweeney: To be used on a gramophone or—

Marcel Duchamp: To be used—

James Johnson Sweeney: —on a Victrola.

Marcel Duchamp: Yeah on a Victrola an’ the effect is that when you turn them on a certain speed like thirty-three-an’-a-half rounds uh turns a minute you get the effect of uh a s’ a sort of a—

James Johnson Sweeney: A growing form.

Marcel Duchamp: —growing form like a like a s-sc’…

James Johnson Sweeney: Cone.

Marcel Duchamp: —cone or sc’ or corkscrew a thing a spiral effect, spiralic effect. But they are different um desi- drawings this one for example is a glass, it duttin’ look like a glass here but when it turns this comes up like a-a in third dimension. We have this one here is a that’s the Dada period you see, the Mona Lisa with a mustache an’ a goatee. That was of course a great iconoclastic gesture on my part an’-an’..

James Johnson Sweeney: Sacrilegious.

Marcel Duchamp: Sacrilegious, blasphemous, w’ all you want. But outside of this blasphemous gesture I have other gestures of the same kind in the Dada period, like this check. I paid my dentist with this check which was an original ch-check drawn by my self on no bank at all. An’ he accepted it he was very good sport an’ he accepted it.! So, what happened the funniest part of it is that ten or fifteen years later I saw him again I bought the check back for my own collection, an’ there ’tis. This is also an other one on a-a system, Monte-Carlo system to win in Monte Carlo to make, to break the bank in Monte Carlo, ’f course I never broke any bank with it I thought I had a system an’ I made some uh shares that I sold to different people to make a capital of it an’ make break the bank in Monte Carlo.

James Johnson Sweeney: Did you undertake it, did you mm try to...

Marcel Duchamp: Oh I did I s’ I sold a few shares of course.

James Johnson Sweeney: But did you win any thing?

Marcel Duchamp: No never won any thing, ah hah never won any thing. Now this is th’um Boxing Match. As you see the drawing is completely.. geometrical or mechanical because that was the- at the period when I changed completely from-from splashing the paint on the canvas to a absolutely precise c-coordinate d-drawing an’ no with no relation to arty handiwork. Eh uh—

James Johnson Sweeney: This was one of the motives of The Glass that wasn’ incorporated?

Marcel Duchamp: Tha’s it. Yes it was supposed to be an’ it never was incorporated it should have been some where here, but never was finished. And um an’ as you know, as I like the quote-intellectual-side although I don’t like the word intellect. For me intellect is too dry a word, too um, too uh inexpressive. It’s-it’s I like the word believe, to believe, believing is more, I think that people in general when they say I know, they-they don’know, they believe. I believe that art is the only form of activity in which man as man shows him self to be a true individual, an’ is capable of going beyon’ the animal state, because art is an outlet towards regions.. where.. which are not ruled by time an’ space. Uh to live is to believe. That’s my.. belief.

White Chisely Sans Serif:
Photography
RICHARD LEACOCK
Sound
GEORGE JORDON
Film Editor
CARL LERNER
Associate Producer
BEATRICE CUNNINGHAM
Producer
and
Director
ROBERT D. GRAFF