The Record: Contemporary Art and Vinyl
This exhibition is, as their website states: ” a groundbreaking exhibition that explores the culture of vinyl records through 50 years of contemporary art. [It] features work by 41 artists from around the world, (including christian marclay robin rhode
, laurie anderson
and david byrne
, to name a few) from the 1960s to the present, who use vinyl records as subject or medium. The exhibition includes sound work, sculpture, installation, drawing, painting, photography, video and performance.”
Besides the fact that I happen to be a fan and collector of the LP, I also find it interesting to view new ways in which artists can manipulate common goods of popular culture into a new collection of art (which ironically, tends to result in art of counter culture, or at least aspires to do so.) Whether it be kitchenware, old toys, or disposed trash (as we’ve seen and read in class), the use of everyday items can recall feelings of nostalgia for many visitors, and create a unique experience for each patron. YouTube video.
Say what you will about Yoko Ono (I happen to love her).
The more I think about how there are more museums than ever, and less objects in these museums than ever; I begin to do a run through in my head of exhibitions with very few objects and how, subjectively, successful I find them. Probably the most recent [basically] non-object piece/exhibit I’ve seen is Ono’s “Voice Piece for Soprano” at MoMA. The piece is made of a large empty room, very little directional wall text, a microphone on a stand in the center of the room which is flanked by two speakers, and you–the participant. I spent almost two hours on a Saturday sitting in front of the piece; watching countless elderly women hobble up to the mic and scream at the top of their lungs. It was really intense. I keep thinking about this piece in relation to the reading from last week, which explained the various reasons people choose to participate or not to participate. My thought is that Ono’s piece offers an ideal model for a participatory piece because it is straightforward. “Scream“. It is easy to do, and not screaming makes you look like a weirdo. Everyone is doing it (perhaps participatory museums should rely more on peer pressure). Also, it feels amazing to get to scream at the top of your lungs.
I made a comment on Monday about how I’m concerned about the overuse of technology in today’s museums, so I decided to try some further research to get a better idea of positive aspects of participatory technology. I came up with this interesting article about a study of the Sotto Voce audio guide done in 2002. The guide attempts to solve the problem of disconnected visitors who use headphone tours in art museums. The program acts as a connector between visitors and as a personalized tour guide. For the full article: Revisiting the Visit
Here is a podcast interview with Steven Conn, who we read in class this week. The conversation is based around his book “Do We Still Need Objects?” and its pretty interesting to hear his views. I thought that some of the class might enjoy hearing more about his thoughts.