Sometimes, the institution really upsets me. I mean, I’m not one to naively believe we could completely do without structure at this point, but I just feel like things are taken advantage of, which is why I tend to have the utmost respect for institutional critique. (I provided a link to wikipedia for insitutional critique, for those of you who may be searching for context here unfamiliar with the term)
What is with this sudden (rebirth of) animosity? Well, my friend emilyvanhoff texted me a photo of Felix Gonzalez-Torres’s retrospective currently up at the Art Institute (she has seen firsthand what kind of powerful surge of random emotion comes over me when it comes to FGT so she sends me pictures of his work when she sees it…what a good friend [total emily shout-out]) (She sent me a picture of Untitled (Golden) (1995) for those who are curious.
Anyways, the text on the wall that the museum places—this is where it stems from. She pointed out to me that it seems absurd to her that they can post such text with no mention of Ross Laycock, whom Felix identified in a number of interviews with Robert Storr without remission as his audience. [“When people ask me, ‘Who is your public?’ I say honestly, without skipping a beat, ‘Ross.’ The public was Ross. The rest of the people just come to the work.”]
No mention. I found myself wondering about the number of reasons the museum could choose to leave this out, and I won’t get into what I specifically suspect is the case here, but it just seems wrong to me that they would choose to omit this information, particularly because so many people respect the institution as the source of correct, truthful and wholly complete information. Although this is not the case, as many involved particularly in art history are aware, it is presented as such to the general public. Which I suppose shouldn’t concern me as much as it does but, in short, it does. It just feels like robbery.
Anyways, emily and i meditated on some solutions to make ourselves feel better about this issue, which included vandalism by way of addition of more vinyl lettering (if this happens, it honestly wasn’t us), a sign featuring more information to be worn by someone during museum hours, and t-shirts (Torres himself had a
pension penchant for making t-shirts)
So, I made up a few mock screens.
Oh my life. Why oh why do I care so much about FGT?
One, fixed the lettering to a more structured Helvetica font which is cleaner (and more what I wanted) than the faux distressed look from before. Two, got rid of the black band. Three, re-spelled “synchronized” (thanks guys for being a good spell check… not!) I still have some issues with a couple of things but yeah. Here’s this version. If you want to hear more about why I thought the first ones needed change, please read the comments between Emily and I.
Technical aspects: utilized the typewriter style text from Felix’s letter to Ross, as well as his traditional drawings of two clocks synchronized to the same time, representing him and Ross. In addition, I utilized a line from his letter to Ross that you’re probably familiar with if you’re looking at this blog (it’s my header, champs) which I feel gives the slogan some context. Simply slogan-ized Torres’ interview answer (posted above) into “It’s all for Ross”, and since Torres didn’t use apostrophes in his letter to Ross, I didn’t use them in the slogan. Also, the “We are synchronized […]” is set up grammatically the same as Felix’s letter (capitalizations, sentence structure, spellings, punctuation, etcetera)
Might print these.
Might print these.