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Carolyn Lazard has a similar show up with redesigned benches and transcribed artwork. And Park McArthur similarly alt-audio-texted the gallery spaces at MoMA. Which is less a critique than obvious parallels, a drippy paint for any expressionist. And less institutional critique than a softening the edges of institution, important work one could argue the institutions should be doing on their own. (A long artistic history, softening corporate facades.) Or Trisha Donnelly appropriating Robert Rosenblum's Picasso audio tour for her MoMA Artist's Choice exhibition. But oddly the audio here is kept from us, the objects/chairs disperse themselves protected by image's glass, but the audio which would digitally free itself instead seals itself in forms. Because words are cheap, and so the digital rights are managed, kept inside frames, a joke about non-accessibility possibly.
Carolyn Lazard has a similar show up with redesigned benches and transcribed artwork. And Park McArthur similarly alt-audio-texted the gallery spaces at MoMA. Which is less a critique than obvious parallels, a drippy paint for any expressionist. And less institutional critique than a softening the edges of institution, important work one could argue the institutions should be doing on their own. (A long artistic history, softening corporate facades.) Or Trisha Donnelly appropriating Robert Rosenblum's Picasso audio tour for her MoMA Artist's Choice exhibition. But oddly the audio here is kept from us, the objects/chairs disperse themselves protected by image's glass, but the audio which would digitally free itself instead seals itself in forms. Because words are cheap, and so the digital rights are managed, kept inside frames, a joke about non-accessibility possibly.
