The internet has dramatically increased the availability of documentation of art produced and exhibited around the world. This increase has corresponded with a new reliance on images as a means of consuming art and art exhibitions. For many exhibitions, the audience for the installation views outnumbers visitors to the venue itself. As a result of this shift, the photographers who produce these images and the institutions that edit them mediate our understanding and experience of art.
Despite decades of art and criticism deflating the aura of objectivity surrounding both institution and photograph, they continue to wield substantial influence over how we see and read art exhibitions. What is the role of the physical exhibition venue in the era of immaterial reproduction?
This show subverts the traditional relationship between object, exhibition and documentation, a relationship built on the economic model of galleries and museums and objects for sale. Using photographs of the exhibition site empty and images of artworks photographed elsewhere, composite images are created as installation views of a hypothetical exhibition. These composited installation images are then distributed by the gallery’s website. The exhibit will culminate in a projection of these images directly from the gallery’s website within the gallery itself. This circular presentation is meant to challenge the boundaries of where we locate value in art. The institution, the first hand experience and digital documentation are all melted into one, leaving the viewer to decide where art took place.
Brad Troemel
Forrest Nash
Louis Schumacher
Despite decades of art and criticism deflating the aura of objectivity surrounding both institution and photograph, they continue to wield substantial influence over how we see and read art exhibitions. What is the role of the physical exhibition venue in the era of immaterial reproduction?
This show subverts the traditional relationship between object, exhibition and documentation, a relationship built on the economic model of galleries and museums and objects for sale. Using photographs of the exhibition site empty and images of artworks photographed elsewhere, composite images are created as installation views of a hypothetical exhibition. These composited installation images are then distributed by the gallery’s website. The exhibit will culminate in a projection of these images directly from the gallery’s website within the gallery itself. This circular presentation is meant to challenge the boundaries of where we locate value in art. The institution, the first hand experience and digital documentation are all melted into one, leaving the viewer to decide where art took place.
Brad Troemel
Forrest Nash
Louis Schumacher
