Research

Points of Reference: Irrational Exuberance: Artists’ shops

A partial selection of artist’s shops and shop-like installations informing Irrational Exuberance (Asst. Colors), on view at Sight School through June 12:

Claes Oldenberg’s The Store, (Ray Gun Mfg. Co.), 1961
107 East 2nd Street, New York, NY, USA

Claes Oldenburg, The Store. 1961. Letterpress, composition: 26 5/8 x 20 7/16" (67.6 x 51.9 cm); sheet: 28 3/8 x 22 1/8" (72.1 x 56.2 cm). Mary Ellen Meehan Fund. © 2010 Claes Oldenburg. Source: Moma.org/collection

Read MOMA’s gallery label text for this poster.

Claes Oldenburg’s The Store (1961), photographed by Robert R. McElroy. Source: Artnet.com

In 1961, Claes Oldenburg began working on The Store, a storefront on the Lower East Side of Manhattan where he made and sold his work. He presented himself as both a shopkeeper and a manufacturer, cramming the store windows with brightly painted objects he made by layering plaster-soaked muslin over chicken-wire armatures. These items, including Bride Mannikin, constitute non-wearable clothes and inedible food displayed for sale. Putting into question each object’s function, Oldenburg sought to blur the line between sculpture and commodity, viewer and consumer, and art and life. (moca.org)

Michael Lüthy wrote about Claes Oldenburg’s “The Store” for Shopping. A Century of Art and Consumer Culture, ed. by Max Hollein and Christoph Grunenberg (a catalog for an exhibition at Tate Liverpool, Ostfildern-Ruit, 2002, p. 148-53). You can read an excerpt on Lüthy’s archive.

You can see a large selection of sculptures from Oldenburg’s “The Store,” including “Bride Mannikin,” in Collection: MOCA’s First Thirty Years, at the Museum of Contemporary Art in Los Angeles thru July 12.

Various artists, The American Supermarket, organized by Ben Birillo and Paul Bianchini, 1964
Bianchini Gallery, Upper East Side, New York, NY, USA

American Supermarket Exhibition 1964. From Life magazine. Source: Timelines.com

Roy Lichtenstein, Turkey Shopping Bag, 1964, Screenprint on shopping bag with handles, Composition: 7 1/2 x 9" (19.1 x 22.8cm); sheet (irreg.): 19 5/16 x 16 15/16" (49 x 43cm). Publisher: Bianchini Gallery, New York. Printer: Ben Birillo, New York. Edition: approx. 125. Source: MOMA.org, collection section

A collaboration between the great names of Pop Art including Andy Warhol, Roy Lichtenstein, Richard Artschwager, Robert Watts, Tom Wesselman and others, the exhibition is an evocation of an ordinary 1964 supermarket – complete with meat, cheese and fruit counters, neon signs and jaunty background musak. In the installation’s “aisles,” real foods are mixed together with iconic Pop works such as Warhol’s stacks of Campbell’s Soup cans and Robert Watts’ alluring chrome fruits and multi-colored wax eggs.
…With its Pop Art proprietors The American Supermarket celebrated the spectacle of consumption with a happening-like event in which shopping was elevated to an art form and serious art collectors were turned into ordinary supermarket customers. (from a press release from The Andy Warhol Museum, May 20, 2003

More info on The American Supermarket can be found in Shopping. A Century of Art and Consumer Culture, ed. by Max Hollein and Christoph Grunenberg (a catalog for an exhibition at Tate Liverpool, Ostfildern-Ruit, 2002

George Brecht and Robert Filliou, La Cédille qui Sourit (The Cedilla that Smiles), 1965-8
Villefranche-sur-Mer, in the south of France

George Brecht with Robert Filliou at La Cédille qui sourit, rue des May, Villefranche-sur-mer, 1965-1968. Source: Flux Fest: Fluxus & Happening

The shop was intended to explore ideas about the ‘obtuse relationship(s) to the institution of language'[35] but instead ushered in what he described cheerfully as “accelerated creative inactivity” (Brecht’s obit from the Independent, as quoted in en.wikipedia.org/wiki/George_Brecht)

Allan Ruppersburg’s Al’s Cafe, 1969
1913 West Sixth Street, Los Angeles, CA, USA

Allen Ruppersberg, Al's Cafe, 1969-1995. Source: x-traonline.org

Allan Ruppersburg, Als Cafe, 1969 Installation, 1913 West Sixth Street, Los Angeles, CA. Source: Air de Paris website, Artists, Allan Ruppersberg, Kunsthalle Dusseldorf page

The Cafe was intended to be a limited-run restaurant, staged once a week—Thursday nights from eight to eleven—in a rented location in downtown Los Angeles. It was to function socially as a meeting place for friends, members of the art world, and anyone else who wanted to drop by. In direct opposition to what one might have expected from a young [Minimalist/Post-Minimalist/Conceptualist] artist at the time, the decor was familiar to the point of strangeness: hyperfamiliar, you might say today…. It was a place where any American would have felt at home. It was exorbitantly familiar….

…[Ruppersberg] was determined to emphasize culture at every turn, to demonstrate that we are wholly defined by it in every act of … of representation of any kind…. In my memory, it was Al who reminded our troubled generation that simple, normal, everyday rituals of human commerce (horrors!) contained a significant complement of decency and joy that needed to be recognized and appreciated—not in spite of, but along with whatever else might have been wrong with the world in those especially uneasy years. (Allan McCollum, “Allen Ruppersberg: What One Loves About Life Are the Things That Fade,” from “Al Ruppersberg: Books, Inc.,” Frac Limousin, France, 2001)

Gordon Matta-Clark, Food, 1971
Corner of Prince and Wooster Streets, New York, NY, USA

Promotion for Food, a restaurant by Gordon Matta-Clark and other artists. Photo: Richard Landry, alteration by Gordon Matta-Clark. Source: New York Times.

Artists were also invited weekly to serve as guest chefs, and the whole dinner was considered a performance art piece. One of the most fabled, costing $4, was Matta-Clark’s “bone dinner,” which featured oxtail soup, roasted marrow bones and frogs’ legs, among other bony entrees. After the plates were cleared, the bones were scrubbed and strung together so that diners could wear their leftovers home. (Randy Kennedy, “When Meals Played the Muse,” New York Times, Feb. 21, 2007.)

Martha Rosler’s Garage Sale, 1973 / London Garage Sale, 2005
University of California at San Diego art gallery, CA, USA / Institute of Contemporary Arts, London, UK

Martha Rosler, Garage Sale, California, 1973, image courtesy of the artist. Source: e-flux.com

Martha Rosler, Garage Sale, 1973, Art Gallery of the University of California, San Diego. Source: ica.org.uk

In 2005 Martha Rosler restaged her piece from 1973, Garage Sale. The exhibition offered a piece of institutional critique on object festishism, the act of buying and selling, and the notion of an ‘art exhibition’. However, Rosler was now a known entity, an institution in herself. Is all critique eventually undone, institutionalised, aestheticised? Or did the restaging prove the persistent validity of such a project? Art into Society: Society into Art (ICA, 1974) brought together the greatest agent provocateurs of their day – Hans Haacke, Gustav Metzger and Joseph Beuys. Are such attempts at undoing the binary oppositions suggested by that exhibition title still pertinent? Was truly anti-institutional exhibition-making simply channelled into live art and happenings, events and music, leaving the exhibition the place for historicised critique? Did we stop chewing the fat of Beuys’s critique when we started preserving it? (London ICA’s website, description for event: Institutional Critique held on October 29, 2008.)

Haim Steinbach’s installations and sculptures, 1970s-current

Haim Steinbach, six feet under, 2004, plastic laminated wood shelf; plasitc frog; plastic feet; ceramic pig; wooden clogs 38 x 69 1/4 x 19 “ (96.5 x 175.9 x 48.3 cm). Source: haimsteinbach.net

Haim Steinbach (born Rehovot, Israel, 1944 and living in New York City since 1957) has been an influential exponent of art based on already existing objects. Since the late 1970’s Steinbach’s art has been focused on the selection and arrangement of objects, above all everyday objects. In order to enhance their interplay and resonance, he has been conceiving structures and framing devices for them.

Steinbach presents objects ranging from the natural to the ordinary, the artistic to the ethnographic, giving form to art works that underscore their identities and inherent meanings. Exploring the psychological, aesthetic, cultural and ritualistic aspects of objects as well as their context, Steinbach has radically redefined the status of the object in art. (from the artist’s website)

Keith Haring’s Pop Shop, 1986-2005
292 Lafayette Street, New York, NY, USA

A close-up shot of the awning and signage of the recently closed Pop Shop, posted October 9, 2005, on Global Graphica, blog of Visual Culture. Ivan Corsa Photo.

Installation view of the re-creation of Keith Haring’s Pop Shop (1986), featuring original Pop Shop ephemera, "Pop Life: Art in a Material World," Tate Modern, 2009. © Tate Photography. Source: ArtInfo.com/modernpainters

Haring’s Pop Shop was recreated for Pop Life: Art in a Material World at the Tate Modern. You can read more about it in the catalog (purchase it from tate.org.uk or find it in the nearest library collection on worldcat.org), or visit the exhibition as it travels to the National Gallery of Canada, Ottawa from June 11–September 19, 2010.

The Keith Haring Foundation maintains an online Pop Shop.

Cady Noland’s installations and sculptures, late 1980s-1990s

Cady Noland, Trashed Mailbox, 1989. Source: Artnet.com

Cady Noland American, born 1956 This piece doesn't have a title yet 1989 Beer cans, scaffolding, cloth and vinyl flags, hand tools. Source: Mattress Factory

Noland, not Barney, Hirst, or Gonzalez-Torres, is the crucial link between late-1980s commodity art and much that has followed; she is the portal through which enormous amounts of appropriational, political, and compositional notions pass. So mercurial, fierce, and originally poetic is she that I think of her as our Rimbaud. (Jerry Saltz, “Invasion of the Sculpture Snatchers,” Village Voice, May 9, 2006)

Tracy Emin’s and Sarah Lucas’ The Shop, 1993
103 Bethnal Green Road, London, UK

Sarah Lucas (L) and Tracey Emin (R) at The Shop. Bethnel Green, London, UK. Photo by Carl Freedman. Source: Artnet.com

Read Tracy Emin’s reflections on The Shop in the Times (“Tracey Emin on her previous life as a shop girl,” Sept. 26, 2009). Or, listen to a podcast of the artist’s talk at Tate (Tate Events podcast, 08-12-2009 Tracey Emin discusses ‘The Shop,’ released 4/6/10, 1:18:03.)

Harrell Fletcher, Jon Rubin, and neighborhood participants, Gallery HERE, 1993-1995
College Avenue, Oakland, CA, USA

Jon Rubin, Harrell Fletcher and neighborhood collaborators, Gallery Here, garage sale, 1993-1995,

Jon Rubin, Harrell Fletcher and neighborhood collaborators, Gallery Here, garage sale, 1993-1995,

Jon Rubin and I started Gallery Here while we were still in Grad School at CCAC. We borrowed a vacant retail building that was in the neighborhood where we lived. For a year and a half until the building was rented we put on a series of shows about people and places in the neighborhood. … For another show we had people’s garage sales in the gallery and put story tags on all of the stuff that was for sale. (Harrell Fletcher’s website: projects: Gallery Here.)

Cary Leibowitz (aka Candyass) Carnival installations, early 1990s

Cary Leibowitz, Art Forum Berlin, 2007. A re-creation of Leibowitz’ iconic Candy Ass Carnival installations from the early 1990s. Source: Alexander Gray Associates

Cary Leibowitz’s Tondo Schmondo Fran Drescher Fan Club and Sad Rainbow, Happy Rainbow at Alexander Gray Associates. Source: Artnet.com

Cary Leibowitz mixes Jewish identity, kitsch, modernist critique, Queer politics, and design culture into dryly witty multiples and paintings. (Contemporary Jewish Museum)

Watch a short video on the installation at Art Forum Berlin on Vernissage TV. Or watch Cary Leibowitz’ artist’s talk in conversation with Glen Helfand at the Jewish Contemporary Museum in San Francisco on March 28, 2010.

Takashi Murakami’s Louis Vuitton shop in ©MURAKAMI, 2008
Museum of Contemporary Art, Los Angeles, CA, USA

Murakami at MOCA (Glenn Koenig / Los Angeles Times) A fully operational, fully staffed Louis Vuitton boutique, with merchandise designed by Murakami, sits above the show. Source: LATimes.com, Arts & Culture, Murakami at Moca

Watch extensive videos of Murakami discussing his works in the ©MURAKAMI exhibition at MOCA.

One gets spat out of the Murakami’s wonderland not through a volcano, but through a fully operational Louis Vuitton boutique. And if the Vuitton bag exceeds the budget the true Murakami experience can yet be attained through a shopping splurge in the Murakami-equipped museum store. Without a clear boundary between them, exhibition visit and shopping blend together to a borderless state of full satisfaction or, as Murakami likes to call it an ‘ongoing study in meaninglessness.’ (from Anna Gritz’ review of the exhibition in Frieze Magazine.

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Research

Post-Minimalism for All

In yesterday’s New York Times, Roberta Smith champions painting, and states a formal history of–and argument against–the idea that painting is dead (“It’s Not Dry Yet,” March 26, 2010).

This is a positive follow up to her negative opinion, “Post-Minimal to the Max,” (NYTimes.com, February 2, 2010), in which Smith takes aim at the current slate of exhibitions at NYC’s major museums. Exhibitions of the work of Gabriel Orozco, Roni Horn, Urs Fischer, and Tino Seghal

…share a visual austerity and coolness of temperature that are dispiritingly one-note. After encountering so many bare walls and open spaces, after examining so many amalgams of photography, altered objects, seductive materials and Conceptual puzzles awaiting deciphering, I started to feel as if it were all part of a big-box chain featuring only one brand.

…Instead [of individuation and difference] we’re getting example after example of squeaky-clean, well-made, intellectually decorous takes on that unruly early ’70s mix of Conceptual, Process, Performance, installation and language-based art that is most associated with the label Post-Minimalism. Either that or we’re getting exhibitions of the movement’s most revered founding fathers: since 2005, for example, the Whitney has mounted exhibitions of Robert Smithson, Lawrence Weiner, Gordon Matta-Clark and Dan Graham. I liked these shows, but that’s not the point. We cannot live by the de-materialization — or the slick re-materialization — of the art object alone.

Smith put it rather bluntly (I don’t think we could live by expressionistic painting alone, either), and I relate to feeling bored by monotony in exhibitions. At the same time, however, I take issue with her points, and my reaction is grounded in my identities and environment.

First, if the post-Minimal programming of New York’s art institutions sync up, who cares? In the end you still got to see the Tino Seghal show at the Guggenheim, and the Urs Fischer show at the New Museum. The phrase “embarrassment of riches” comes to mind.

Second, this is a generational and coastal difference, but I never really perceived any serious threat to painting. San Francisco’s unique history in conceptual and performance art is known amongst specialists, but many more know about Barry McGee, and the San Francisco Mission School of painting that he helped to popularize. I found the arguments against the death of painting fatiguing in my studies–along the same lines as eye-rollers like “So what is art?”–so I find it perplexing that Smith would take up arms for painting now.

To state the obvious, painting’s not going anywhere. The Everyman still considers “painting” and “art” synonymous, to the exasperation of non-painters everywhere. Most art museums house room after room of paintings. Most art stores feature a prominent aisle of paints and brushes. Ask people to draw the idea “art” and I guarantee that three of the top 10 responses you get will be: a palette with paints (you know, the round one with a hole for your thumb), gilt picture frame and canvas on an easel. Extending “pictorial history” is just not my priority, nor should it necessarily be curators’.

Third, I’m reminded of something the artist Paul Chan enigmatically said in his SFAI lecture, about “those who’ve been left behind by Modernism” — subcultures who are developing their own Modernisms, not to speak of tackling Post-Modernism (or Post-Minimalism, for that matter). I think that if thousands of tourists and students get to see the retrospectives by Roni Horn (the only female artist on Smith’s lists) or Gabriel Orozco (the only artist of color and person from the Global South; not splitting hairs about Gordon Matta-Clark, OK?), good for all of them.

Smithson, Matta-Clark, Graham and Weiner form like a board of directors of Post-Minimalism, and though I’d wonder what makes a Weiner show urgent or necessary, I’d guess that scores of art students and artists are grateful for the chances to see Smithson’s, Matta-Clark’s and Graham’s work in person, a small ameliorative for the feeling of being born too late to see Earth works and site-specific interventions of the 1960s and 70s. Smithson and Graham are significant influences for young contemporary artists, especially when you look at the resurgence of cheeky Romanticism in the curatorial work of Lawrence Rinder, the earthy Transcendentalism of shows like Alchemy at Southern Exposure and the emphasis on viewers in social/relational art.

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