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"I studied with Michael Asher at the California Institute of the Arts (CalArts), and although we had different aesthetics, I learned a lot from him. I loved how he would change one variable in a system to call attention to the invisible, like removing the wall between the gallery and office at the Claire Copley Gallery or creating a column of air in the Whitney Museum. Michael pointed out that the hallways and ceilings were as much part of the museum as the galleries, so that made me think the hallways and ceilings were a place to make work in, which became a central idea of our show at the Los Angeles County Museum of Art in 2008. By changing one thing, you can achieve something as simple as giving an audience another angle to investigate a topic or as complex as reintroducing everything that has been pushed out to make an institution function—like how the invisible workings of architecture construct history, power, and context."
excerpt from Machine Project THE PLATINUM COLLECTION
By MARK ALLEN, CHARLOTTE COTTON and RACHEL SELIGMAN
"I studied with Michael Asher at the California Institute of the Arts (CalArts), and although we had different aesthetics, I learned a lot from him. I loved how he would change one variable in a system to call attention to the invisible, like removing the wall between the gallery and office at the Claire Copley Gallery or creating a column of air in the Whitney Museum. Michael pointed out that the hallways and ceilings were as much part of the museum as the galleries, so that made me think the hallways and ceilings were a place to make work in, which became a central idea of our show at the Los Angeles County Museum of Art in 2008. By changing one thing, you can achieve something as simple as giving an audience another angle to investigate a topic or as complex as reintroducing everything that has been pushed out to make an institution function—like how the invisible workings of architecture construct history, power, and context."
excerpt from Machine Project THE PLATINUM COLLECTION
By MARK ALLEN, CHARLOTTE COTTON and RACHEL SELIGMAN
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