A Cube Has Six Sides, Parker Kay (PDF)

A CUBE HAS SIX SIDES The White Cube as Medium Parker Kay parkerkay.com

Published by The Canadian Academy in Rome

Printed in Toronto by Swimmers Group

Copy Edited by Dylan C. Robertson and Julie Baldassi

Acknowledgements: Shannon Jager Kathleen Pirrie-Adams

Artwork Documentation As Art 4 A CUBE HAS SIX SIDES PART 1 Documentation As Art 1 PART A HistoryofDocumenting 2 where theartworkis displayed. beyond the physical visit to the exhibition layer ofexperience(andcontext) archived; it gives thevieweranadditional part tohowarthistoryispresentedand Documentation hasalwaysbeenavital the remainingartifactsthemselves. of thirteenth-centuryChineseartbeyond remains oneofthefewprimaryaccounts for Chineseartandarchitecture;this book wasdedicatedtoPolo’s admiration shortly thereafter. A large sectionofthe The Travels ofMarco Polo of theseconversations,Rustichello’s shared aprisoncellwithPolo. As aresult to thewriterRustichelloofPisa,who he toldstoriesofhistravelsthroughChina In 1298,whileMarcoPolowasinprison, Volume 2),Introduction. (The ProjectGutenberg eBook, The Travels ofMarco Polo. Polo andRustichelloofPisa.

was published waspublished

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(1962), Harald Szee an online platform (similar to History of Art Art Project, Live in Your Head: When Attitudes Become Form Head: When Live in Your FEBRUARY 1, 2011: mann’s exhibition mann’s American artist Louise Lawler (1980). (1969), and the photographs of of Post-Internet art. However, in order to understand how Post-Internet of Post-Internet art. However, art relates to the broader context and history of the documentation of Janson’s art, I will examine H.W. of the artist, and how these images have shifted the concept of the of the artist, and how these images have The contents of this essay will focus primarily on White Cube gallery. after 2007, under the genre artworks and exhibitions that were produced culturally significant artworks in screen-based documentation, rather culturally significant artworks in screen-based essay seeks to chronicle the rise of documentation This then in person. of viewing art, the identityimages and their major role in the experience (the Tate Gallery in London, the Metropolitan Museum of Art in New Gallery in London, the Metropolitan Museum of Tate (the Google expanded the the Uffizi in Florence, etc.). One year later, York, This project represents the project to 151 museums from 40 countries. most will see the world’s moment after which more of the public In 2011, Google launched Google In 2011, where the public is invited into three-dimensional View) Google Street most important museums representations of seventeen of the world’s

6 A CUBE HAS SIX SIDES PART 1 Documentation As Art “history iswritten bythevictors”seemsappropriate here:certain system isevident with would adviseonselectionsbefore deferringtoasingleeditor—nosuch Today, acomparablebook ofthistypewouldhaveacommitteethat to suggestthatJanson’s selectionswere morethenthewillofoneman. historical canon.Furthermore, thereisnohistoryofthe hensive history, whichdislodges process of suggests) canbereducedto572pagesisproblematic.Itspeaks toa composition These structurescanbereducedtothreemaincomponents: model tounderstandthestructureofhowartdocumentation operates. only importanttothehistoryofartdocumentationbutitis alsoagood and isnowinitsninthedition(published2013).Janson’s textisnot sold millionsofcopies,beentranslatedinto14different languages, most-used arthistorytextbooksinuniversitiesaroundthe world;ithas The Historyof Art, In 1962,Russian-Americanarthistoryscholar, H.W. Janson COMPOSI TION SELECTION DISTRIBUTION First, thenotionthatall-encompassinghistoryofart(as thetitle selection , and distribution , leadbyJanson,whooffers hisselectionascompre a bookthatwouldgoontobecomeoneofthe History of Art. History . History of Art History Winston Churchill’s sayingthat fromtheobjectiveart History of Art History selection

released

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History Sontag 5 3 (London: distribution On Photography — through which the Museum of Modern Art New Art New Museum of Modern . (1978), 3. , published in 1977: window John Szarkowski. “Mirrors and Susan Sontag. Susan from July An exhibition at the MoMA Windows: American Photography since Photography since American Windows: 1960.” York the name nor the work of a single woman artist. In thus excluding women from the history of art.” Penguin, 1977), 175. 28 - October 2 1978.

5 3 4 is photography’s inherent inability inherent is photography’s

(New On Photography , first by the photographer who takes the photo takes the photographer who , first by the The Power of composition Mirrors and Windows: American Photography and Windows: Mirrors where each image not only documents, but also serves where each image not only documents, composed describes photography as “a

4 Broude and Garrard. of the 1970s, History and Impact. artists Abrams, 1994). “Women York: in the 1950s and 1960s suffered professional isolation not only from one but also from their own history, another, in an era when women artists of the past had been virtually written out of Janson’s the history of art, H.W. influential textbook, History of art, first neither published in 1962, contained Feminist Art: Feminist The American Movement are legitimized and disseminated by the large-scale distribution large-scale are legitimized and disseminated by the 2 Even when photographers are most concerned with mirroring reality, they they reality, mirroring concerned with most are when photographers Even and conscience. The immensely of taste tacit imperatives by haunted still are project photographic Security Administration gifted members Farm of the Shahn, Lange, Ben Dorothea Evans, Walker (among them 1930s late of the sharecrop of one of their pictures dozens of frontal take Lee) would Russell the right look on film […] just had gotten they that per subjects until satisfied another, to one exposure should look, in preferring a picture In deciding how subjects. imposing on their standards always are photographers Second, the images that are included as visual support to the selected to the selected as visual support images that are included Second, the The third and final component to art documentation is The third and final component to art of Art the 52 years it has been in model that the textbook has received over Janson’s editorial perspective on what should serve as an icon of art history. should serve as an icon of art history. editorial perspective on what Janson’s decisions to select and compose the artworks included in Janson’s pletely objective, or separated from the taste of the photographer. The taste of the photographer. pletely objective, or separated from the the subject matter is inescapable. language that photography imposes on within it has a particular effect While this is a quality of all photographs, History of Art the uniquely prejudicial qualities of photographic description.” the uniquely prejudicial qualities of photographic the greatest limitations: and Szarkowski articulate one of photography’s The photograph is unable to be com inability to represent objective truth. 1978 press release for since 1960, explored through exterior world is […] so clearly and uncompromisingly Demonstrating a similar awareness of the artifice, John Szarkowski, in a Demonstrating a similar awareness of the Key to this process of Key to this away from the the photograph further thus pushing reality, to represent truth claim it is depicting. Susan Sontag tackles the original artwork that in of photography head-on artworks are them in the layout. designer who places then by the graphic graph, and material from the art historical canon is included in Janson’s selected selected in Janson’s is included canon art historical from the material out. deal is left a great — and narrative 8 A CUBE HAS SIX SIDES PART 1 Documentation As Art Art print. Forinstance:in Toronto alone,hundredsofcopies connection tosubjectivityandopinion,Kosuthbelievedit hadnoplace which dealtwithbeautyandthus,taste.” the helpofGreenberg and generalmindlessnessofformalistartcriticism.” that Conceptualart“originatedasareactiontothesubjective aesthetics a definingessayontheemergence ofConceptualart.Kosuthexplains American conceptualartistJosephKosuthreleased In 1969,asJanson’s used toenhanceanartwork. with howthequalitiesofdocumentationimagecouldinsteadbe and exhibitions,becameevidentartistscuratorsstartedtoexperiment work ofart.However, once thelimitationsofdocumentingartworks, context. The audienceofthebookreplaces audience oftheoriginal documentation tendtoabstracttheartfromanyphysicalorsocial that ismostclearlyheard. All ofthesecomponentsthathelpdefineart the Toronto ReferenceLibrary. The loudestvoiceintheroomisone all nineeditions(andtheirrevisededitions)areavailabletogetherat LIVE LIVE IN LIVE IN YOUR are availablein46separatelibrariesaroundthecity. Additionally, 7 ClementGreenberg, 6

the devilisitthatweagree abouttaste, 1999 )104.“Aesthetic Judgment: how (New York: OxfordUniversityPress, Esthetics: Observationson Art andTaste Cambridge UniversityPress,2004)28. Theory, Myth,andPractice Conceptual Art,” Connection andOriginaryMythsof Frances Colpitt,“TheFormalist IN YOUR HEAD Art Conceptual Art: History of Art History Homemade 7 ) definesaestheticsas“abranchofphilosophy ≠ Aesthetics YOUR HEAD (Cambridge: was nearingitssecondedition, 8 FrancesColpitt,“TheFormalist Cambridge UniversityPress,2004)29. Theory, Myth,andPractice Conceptual Art,” Connection andOriginaryMythsof and soforth.” and whyisitthattastesonecessary, 8 Becauseofaesthetics’ → Taste HEAD Art After Philosophy Art After Conceptual Art: 6 Kosuth(with (Cambridge: History of

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The works of antiform The works of antiform 9 Art: Theory, Myth, and Practice Art: Theory, (Cambridge: Cambridge University Press, 2004) 123. as a singular experience of people Attitudes Conceptual for its broad survey of Conceptual art. However, of Conceptual art. However, for its broad survey Live in Your Head: When Attitudes Become Form Head: When Live in Your Attitudes where the artist would throw molten lead towards where where the artist would throw molten lead Now looking at , the art that came from artists such as Kosuth, Lucy R. Lucy as Kosuth, artists such from art that came , the 10 Become Form and the Contest over Art’s History,” Conceptual 9 Ibid. Attitudes Alison M. Green, “When 10 Rather than traditional documentation of artworks in a visitor-free of artworks in a visitor-free Rather than traditional documentation Meanwhile in Bern Switzerland, curator Harald Szeemann, the director curator Harald Szeemann, in Bern Switzerland, Meanwhile artists the frame the in include images documentation the of many gallery, famous Richard Serra’s in the act of creating their piece. For example, Splash Piece, objects.” that were produced on-site and actions, the documentation images become extremely important. avant-garde “experience” rather than the survey exhibition that art critics avant-garde “experience” rather than the the museum “to make works, and titled it as. Szeemann invited artists to and activities as a display of so it became as much an event of people came from his ability to create an exhibition that functioned as a singular came from his ability to create an exhibition Alison M. Green makes experience rather then collection of objects. concerned with creating an the case that Szeemann was actually more Kosuth, LeWitt, and Lippard rejected formalism on theoretical grounds. and Lippard rejected formalism on theoretical grounds. Kosuth, LeWitt, amongst the exhibited Therefore, it would seem that the division curatorial impulse was at odds with artists would suggest Szeemann’s success Szeemann’s distinctions highlighted by Kosuth. However, “formalism” (having form) of Minimal art.” “formalism” (having form) of Minimal and Robert Morris were more artists such as Richard Serra, Eva Hess, components of formalism while interested in the rejection of the stylistic particular stream of Conceptual art was problematic. For instance, Conceptual art was problematic. For instance, particular stream of to distinguish his definition of “antiformalism” Kosuth was very careful of the style of antiform, which was a rejection from the sculptural Sol LeWitt, Lawrence Weiner, and many others. During its run, art and many others. During Weiner, Lawrence Sol LeWitt, critics praised practices would all speak to one exhibited artists’ the idea that the 80 opened in March 1969 and ran through the next month. The exhibition, and ran through the next month. opened in March 1969 displayed works from: as the “Attitudes show,” which became known Serra, Morris, Joseph Kosuth, Richard Andre, Joseph Beuys, Robert Carl Conceptual art by strides to define Bern, also took of the Kunsthalle that brought together a wide range an important exhibition organizing of international artists. Lippard, Sol LeWitt, Ed Ruscha, and Lawrence Weiner relied heavily Weiner and Lawrence Ed Ruscha, LeWitt, Lippard, Sol systematic, its linguistic, performative, to convey on documentation activities. and installation in art. As a result of this rejection of formalism, aesthetics, and therefore therefore and aesthetics, of formalism, rejection of this As a result in art. objectness 10 A CUBE HAS SIX SIDES PART 1 Documentation As Art state butratherthephotographwastakenasSerravigorouslyhurled the floorandwallmet,wasnotdocumentedinitshardenedsculptural the structuresofdocumentationimagesintheirownwork. documentation. After through which theviewerwas(andcontinuesto)onlybeabletoexperience The artists’ actionsbecameinserviceofthetotalityexhibition, to maketheexhibitedworkson-site,exhibitionwasunified. commonality. However, throughSzeemann’s impulsetoinvitetheartists were notalllinkedtogetherbyastylistic(Serra)ortheoretical(Weiner) a curator. As determinedabove,theselectedworksinexhibition Additionally, thisdualityofexperiencespeakstoSzeemann’s successas the documentationimagealongsideartobjectasarecordofanevent. is thatoftheartist’s process,orprocessasperformance,whichsituates and thework.IncaseofbothSerra Weiner, thisadditional layer from its visibility. Unlikethe documentationimagesusedbyJanson,the image ofConceptualartjoinedtheartworkasanintegralcomponentto images, aswellSzeemann’s successascurator. The documentation connection betweenConceptualartandthe relateddocumentation featuring theworkofbothSerraand Weiner speakveryclearlytothe in astairwellsattheKunsthalleBern. The documentationimages meticulously handcarvinghis36”xsquare—intooneofthewalls OR WALLBOARD FROM A WALL, REMOVAL TO THELATHING ORSUPPORT OFWALL OFPLASTER lead towardsthewall.SimilarlywithLawrence Weiner’s Attitudes provide anadditionallayerofexperiencetotheexhibition Attitudes, thedocumentationshowed Weiner artistscontinuedtoinvestigate A 36”x

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13 Lawler was aware of the Lawler was aware 11 We are back in acoustic space. Electric We circuitry profoundly involves men with Information pours upon one another. us, instantaneously and continuously.” McLuhan, Marshall. 1967), 63. “We now live in a Global 1967), 63. “We happening. a simultaneous Village… he Medium is the (New York: Bantam Books, York: (New

Marshall McLuhan. T Marshall McLuhan. Pictures. Assouline, 2000), 1. York: (New Massage. 11 Louise Lawler. An Arrangement of An Louise Lawler. 11 12 Ibid., 2. 13 Ibid., 4. 14 quickly transitioned from novelty to utility and Network Culture assert Culture Network and utility to novelty from transitioned quickly place as the dominant cultural ideology ively took Postmodernism’s of the time. positional elements to Lawler’s final image. While Lawler continued to While final image. positional elements to Lawler’s Village the Global and 1990’s, photograph artworks through the 1980’s The Internet coming into view. that McLuhan wrote about was slowly destroy the boundary of the artwork, and instead focusing on the scene destroy the boundary of the artwork, and of the photographic frame. that has been set due to the composition space as equally important com This leaves the artwork and surrounding found. She shows us what is perfectly visible but rarely seen.” found. She shows us what is perfectly visible the documentation image, and By showing artworks in situ, she used to investigate how the lens can the structures outlined above, as a tool occupy a space, [and] that the literal and institutional spaceoccupy a space, [and] that the literal and that surrounds evaluation to a high degree.” a work of art determines its perception and that “show locations where art is Lawler built a typology of photographs questioning these principles along with notions of value, space, and questioning these principles along with practice are the ideas pioneered context. Key to understanding Lawler’s 1921, which “directed people’s by Marcel Duchamp between 1913 and fact that works of art always attention to the previously unacknowledged happens to the art object after it leaves the artist’s studio, where it goes, after it leaves the artist’s happens to the art object and how it is valued. how it is displayed, around art documentation and built her practice structures that defined In 1980, American artist Louise Lawler began photographing art “as American artist Louise Lawler began photographing In 1980, public homes, museums, galleries, auction houses, presented in private what storage areas” in an attempt to examine buildings and gallery 12 A CUBE HAS SIX SIDES PART 1 Documentation As Art address theimpactsofInternetoncultureatlarge, andthiscanbe to makewhatI’vecalled‘Post-Internet’ art[…]Ithinkit’s importantto “What isevenmoreinterestingthewayinwhichpeople arestarting about thedifficultiesofcuratingnew-mediaart,Olsonresponde d that viewed later, onMarch28,2008newmedia on new, offlineworkthatshecalls“Internet Aware Art.”Nottwodays interview, Lonergan toldinterviewer Thomas Beardthatsheisworking it affects cultureandconsciousness.” Lonergan described her interest “in what the Internet has done to us,how artists JohnMichaelBolingandJoelHolmberg. Laterintheinterview about herproject 2008, thewebsite structures andexperienceofartbornouttheInternet.OnMarch26, steampunk, cyberpunk,etc.). Artists turnedtheirattentioninsteadtothe of earlycomputertechnologiesandaesthetics(glitch,hypertext, decline ofironicdigitalart,orNet Art, whichcelebratedthenostalgia announced theendofironyinpost-911 era. This periodmarkedthe On September18,2001GraydonCarter, theeditorof Vanity Fair,

17 GeneMcHugh.“Tuesday, December 16 Ibid.,1. 15 P 18 in generalbycreating work thathas the categoryof‘newmedia’ intoart LINK Editions,2011), 22.“Dissolve 29, 2009.” mar/26/interview-with-guthrie-lonergan 2008. http://rhizome.org/editorial/2008/ Lonergan.” Thomas Beard.“InterviewwithGuthrie onwe-make-money-not-art.com. After beingaskedaquestion O

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Rhizome T (March2008):1. (Brescia: interviewedvideoartistGuthrieLonergan I an Internetsurfingcommunitysitewith N T 17 16 18

artistMarisaOlsonwasinter E Duringherpartingremarksinthe become-marisa.php#.VF8hn4dp18x. com/archives/2008/03/how-does-one- 2008): 1. We-make-money-not-art.com culture.” other footintheexperienceofnetwork one footinthehistoryofartand Regine. “InterviewwithMarisaOlson.”

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19 selection This 21 Post Internet — History of Art prompts you to watch in 1080pHD — “it gets better I promise.” 22 Ibid., 13. video YouTube That moment when a 23 and represents it to the public. As a and represents it to the public. 22 . The power of selection that Janson The power of . Post distribution (Brescia: LINK Editions, , and Now that the mainstream had arrived online and art on the Now that the mainstream had arrived Ibid., 1. Internet 12. 2011), 23 Post-Internet art declared that no matter what your preoccupations Post-Internet art declared that no matter 20 19 20 Gene McHugh. “Introduction.” 21 Ibid., 13. In 2009 the Andy Warhol Foundation Arts Writers Grant Program Writers Arts Foundation Warhol Andy In 2009 the Documentation images after the Post-Internet era saw a shift from a Documentation images after the Post-Internet an important layer that the Post-Internet artist had to build into their an important layer that the Post-Internet return to the same set of structures illustrate this point, I will To work. used to analyze documentation in Janson’s to a glossy experience designed to be a heightened version of the to a glossy experience designed to be a original. documentation images becameInternet was no longer only “Internet art,” tion of Post-Internet art. original, the from removed experience secondary a record, photographic devalues the work, revalues it,” layers of experience online and result of this consideration for multiple a vital component to the produc offline, documentation images became was as an artist, you had to acknowledge the Internet as a “distribution was as an artist, you had to acknowledge work.” platform, a machine for altering and re-channeling must now examine “what the since the artist acknowledgment is key, distributes the work, how it Internet is doing to the work — how it to a mainstream world for nerds, the technologically minded and paintersto a mainstream world for nerds, the technologically agitprop artists and everyone and sculptors and conceptual artists and else.” became increasingly solidified in its ambitions. To McHugh, Post-Internet To solidified in its ambitions. became increasingly on the of “what we mean when we say ‘art art represented the shift technologically-minded, from a specialized world of nerds and Internet’ From December 2009 to September 2010, McHugh wrote daily blog to September 2010, McHugh wrote From December 2009 artworks that participated in the Post-Internet posts about artists or the term Post-Internet As McHugh published post after post, dialogue. grant that Gene McHugh, the Creative Capital writer, American gave called of a blog (www.122909a.com) funded the creation Kari Altmann, Oliver Laric, Harm van den Dorpel, Ed Fornieles, and den Dorpel, Ed Fornieles, Laric, Harm van Altmann, Oliver Kari pursuit to Lonergan works with a similar produced new Bunny Rogers rnet type of art, contentiously named Post-Inte and Olson, and a new art, quietly emerged. ideology among artists that the Internet was not simply a technology simply a technology Internet was not artists that the ideology among on cultural influence recognized as a major but it should be or aesthetic, Arcangel, such as Cory artists year, Over the next modern society. done well on networks but can, and should, exist offline as well.” as well.” exist offline should, can, and but well on networks done emerging of an an indication were days apart, only two interviews, These composition 14 A CUBE HAS SIX SIDES PART 1 Documentation As Art directors, historians),butPost-Internetartandnetworkculturegavethat possessed wasoncereservedforaprivilegedfew(curators,museum contextualization ofanartwork.” photography-with-software to createvaluethroughthedescriptionand they also“representboththe heightsofsuccessandinherentfailures Compression Artifacts from theviewofpopularartblogs,documentationimages from subjective experienceanddesires. As thisprojectgrowsolderandfades representations oftheworldaroundtheminaccordancewith their material production” distortions inherenttolens-basedphotographyandthelimitations of and howit“enablesimageproducerstomoreacutelyaddress the image manipulationsoftware(AdobePhotoshop)inartdocumentation, to theproject. Also importantto of artistprovidesinstantlegitimization(streetcred)forthe ideascentral tation easy toquestiontheborderbetweendocumentation Vierkant). Citerella’s gesturetobuildafacsimileofgallerymakesit of thetime(Wyatt Niehaus,KateSteciw, Brad Troemel, and Artie then populateswithsomeofthemostrecognizedPost-Internetartists Citerella hadconstructedmimicsanempty White Cubegallerythathe exposure uponeachwall.” mirrors thephysicaldimensionsofspace,renderinganidentical facilitate itsownsublimationintodigitalimages. The lightinginstallation and builtasasetwithinwhichtomakephotographs,designed project titled images asphotographictableautoitslogicalconclusionwithhis2013 Documentation imagesarenotlongerproduced;theyfabricated. elements thatareultimatelyinserviceoftheimpedingimagecapture. forms theartworksandsurroundingspaceintomalleablecompositional static, turningthedocumentationimageintomoreofatableau. This trans tion imagesbornfromPost-Internetart,thephotographicframebecomes (remember Szarkowski’s windowmetaphor),however, withdocumenta photographic framedictatedthecompositionofadocumentationimage the imagesthemselves. When examiningJanson, andevenLawler, the images aredisplayedonline,thereisalsoagoodchancetheycreated became aprocessofself-curating.Notonlydoestheartistselectwhich power totheindividual(artist,blogger, teenager, parents).Selection American artistJoshuaCiterellatooktheideaofdocumentation 24 “Compressions Artifacts”, Joshua as art.Furthermore,theinclusionofanalreadyestablishedcast http://joshuacitarella.com/artifacts.html. Citarella, Accessed September2,2014, Compression Artifacts. 25 not onlybecometheprinciple “artwork”but whilesimultaneouslyallowingartiststocreate 24 As thelightingsetupalludesto,setthat Compression Artifacts 26 Citerella’s project“wasconceived 26 Ibid. 25 Ibid.,1. of artanddocumen is theroleof

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(March 1 to May 11, to May 11, (March 1 consists of seemingly straight Accessed September 2, 2014, http:// artievierkant.com/imageobjects.php. 5. 29 “Image Objects,” Artie Vierkant, Vierkant, Artie 29 “Image Objects,” , an essay and extended artist 28 Art Post Internet Art Post Internet Image Object for 27 The Image Object Vierkant abandons the concept of an original by Vierkant 30 Internet.” Ullens Center for Art, Beijing. 12. Contemporary The artworks from The artworks from 29 27 http://post-inter.net Archey and Peckham. “Art Post 28 It may be that the most important art of this moment investigates how these these how important most the be that artIt may moment investigates this of work of art,the status of the particularlytension affected the in changes have object and documentation. between In the past 15 years, systems for the production, dissemination, circulation, dissemination, circulation, production, the for systems 15 years, past In the seismic shifts experienced and radical art of new and reception have of art The mainstreaming online image reimaginings. blogs, gallery websites, made screens imagery digital for have vehicles clearinghouses, and other and smartphones computers primarylike the which contemporary mode by experi the overwhelming handily majority of viewers, art vast the is seen by in person. or visiting an exhibition a paper catalogue ences of paging through Of the three structures, the distribution and dissemination of art docu and dissemination distribution the three structures, Of the forward digital prints in a colour palate referencing the modern CMYK forward digital prints in a colour palate physical representation to printing press, moving “seamlessly from context, built with an intention Internet representation, changing for each universality.” of quent representations of the work through the Internet, print publications, publications, print Internet, the work through of the representations quent variation is somehow a lesser bootleg images of the object, or any other object. the validity of an original source in a time where objects and artworks the validity of an original source in a time he rejects the notion that the lack any kind of fixity online. Furthermore, or museum and that any subse work of art solely resides in the gallery be viewed both in person and online through documentation. In 2010, be viewed both in person and online through released Vierkant questions Vierkant same name. statement for an ongoing project of the Post-Internet artworks that addresses the question of how the dissemi Post-Internet artworks that addresses the the status of an artwork. affects nation of documentation images online built has Vierkant, Artie One of the artists included in the exhibition, objects that are designed to a successful practice around creating art The exhibition curated by Archey and Peckham is a collection of Archey and Peckham is a collection The exhibition curated by distribution online) have had on Post-Internet art. distribution online) an exhibition catalogue an exhibition Center for Contem curated at the Ullens exhibition that they 2014), an Archey and art, in Beijing. In a survey of Post-Internet Art porary (and their on the impact that documentation images Peckham comment Internet has not only widened the scope of an artist’s audience, it has the scope of an artist’s not only widened Internet has that is distributed and quantity of art the rate, speed, also accelerated published and Robin Peckham Archey 1, 2014, Karen On March daily. The Janson. days of from the shifted obviously has most mentation 16 A CUBE HAS SIX SIDES PART 1 Documentation As Art prints, castingoff anyreferencetoanoriginalandthuscreatinganew digitally manipulatingthedocumentationofhisexhibited online — by forcing the artworks into an institution. Troemel shows a a online —byforcing theartworksintoaninstitution. Troemel shows the artistsincluded —whoseartisprimarily displayedanddistributed extreme, inordertoinvestigate theexhibition’s capacity tolegitimize our peers the documentationimageshe hadalreadytaken. size inrelationtothespace,and thenskilfullyphotoshoppingthemi Troemel “mounted”theexhibitionbyassigningworksanarbitrary world toemailajpgfileofanartworkbeincludedinthe exhibition. the Art InstituteofChicago,andthenaskedartistsfromalloverthe Photoshop. Troemel photographedtheSullivangalleries,alarge spaceat consisted ofalarge groupexhibitionthatwasentirelyconstructedusing Chicago inaprojecttitled idea inhisundergraduate thesis attheSchoolof Art Instituteof dissemination ofdocumentationimages. Troemel furtherexploredthis simultaneously attractalarge onlinefollowingthroughconsistent their capacitytowelcomelocalvisitorsviewexhibitions IRL,and and mediatheoristtermedthesetypesofgalleries“dualsites” because (Chicago, IL),co-founderofpopular Tumblr blog“TheJogging”, artist Brad Troemel, co-creator with Lauren Christensen ofScott Projects Gallery (MexicoCity),andButcher(Toronto, ON). American Space (Portland,OR),ReferenceGallery(Richmond, VA), Preteen or onlinegalleriesthatwerefoundedduringthistimeinclude Appendix galleries the solepurposeofonlinedocumentation.Notableapartment white walls,acamera,andwebsite.Exhibitionswerebeingmadefor lease, streetaccess,orevenvisitors. And insomecasesneededonly of theapartmentgallery. Nolongerdidagalleryneedcommercial notion ofthegalleryalsoshifted.Contemporaryartsawemergence and theestablishmentofgalleries. Within thischangingcontext,thevery began toapplyapost-Internetsensibilitythecurationofexhibitions continued topermeatethroughcontemporaryart,artistsandcurators individual artwork,butentireexhibitionsandgalleryspaces. more common,documentationbecamenotonlyacomponenttoan as acomponentintheirstudiopractice. As thispreoccupationbecame Schumacher, BunnyRogers, JaakkoPallasvuo)whouseddocumentation the camera. Vierkant was only one of severalartists(ParkerIto,Ben it wouldbelikewhenanactorbreaksthefourthwallandwinksat Objects hinges onthecontinuingseparationbetweenIRL (inreallife) artwork thatsolelyexistsonline. The successof Vierkant’s project As theideaofdocumentation andtheonline pushes theroleofdocumentation asarttoanalmostcomic Image Objects An ImmaterialStudyofourpeers. as artratherthandocumentation — iftheseparationweretoend An ImmaterialStudyof Image Object The project Image of

nto nto art

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art. The of 31 art rather then the documentation art rather then the documentation as Ibid., 10. Citarella, Accessed September 2, 2014, Citarella, http://joshuacitarella.com/artifacts.html. 30 Artifacts”, Joshua 31 “Compression Art documentation has always been important in terms of how art been important in has always Art documentation imagine the White Cube functions. imagine the an ontological shift that values the digital image over the actual.” an ontological shift that values the digital to that art documentation has had on contemporary art continues effect the artist, and how we permeate how we look at art, how we perceive move between contexts and mediums freely. Increasingly, artists and the Increasingly, move between contexts and mediums freely. public favour documentation of “contemporary culture straddles the threshold As Citarella writes, Guthrie Lonergan, Marisa Olson, Joshua Citerella, Artie Vierkant, and Vierkant, Artie Joshua Citerella, Marisa Olson, Guthrie Lonergan, acknowl that art make to meant it what explore to began Troemel Brad able to a conceptual framework while also being edges the Internet as with the arrival of network culture and the Internet, documentation culture and the Internet, documentation with the arrival of network more and more important within an image-saturated images have become art, artists like 2008, and the arrival of Post-Internet After culture. history is constituted, disseminated and investigated. By investigating By investigating and investigated. constituted, disseminated history is from artists like as well as projects of art documentation, the history examines the broader context of which explicitly Louise Lawler, However, of its significance. inflections early some see can we exhibition based on its context, Troemel forcefully situates the artwork in situates the artwork forcefully Troemel context, based on its context he sees fit. whatever proclivity to Duchampian ideas of space and time similar to Lawler; to Lawler; time similar space and ideas of to Duchampian proclivity value changes artwork’s how an than investigating rather however, 18 A CUBE HAS SIX SIDES PART 1 Documentation As Art of modern art anda of modernart HBarr’sAlfred COMPOSITION 1 diagram for diagram thedevelopment

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21 A CUBE HAS SIX SIDES PART 1 Documentation As Art 22 A CUBE HAS SIX SIDES PART 1 Documentation As Art 23 A CUBE HAS SIX SIDES PART 1 Documentation As Art ” ” COMPOSITION 3 COMPOSITION COMPOSITION 4 COMPOSITION Compression Artifacts Compression Artifacts “ “ Le Corbusier’s Modular Man Modular Le Corbusier’s Le Corbusier’s Modular Man Modular Le Corbusier’s and and Joshua Citerella’s Joshua Joshua Citerella's Joshua 24 A CUBE HAS SIX SIDES PART 1 Documentation As Art Lawrence Weiner COMPOSITION 4 andthe Pantheon 25 A CUBE HAS SIX SIDES PART 1 Documentation As Art 26 A CUBE HAS SIX SIDES PART 1 Documentation As Art 27 A CUBE HAS SIX SIDES PART 1 Documentation As Art ” ” COMPOSITION 5 COMPOSITION COMPOSITION 6 COMPOSITION Sonsbeek Pavillion Sonsbeek

Sonsbeek Pavillion

Aldo Van Eyck’s Aldo Van Aldo Van Eyck’s Aldo Van The most infamous girl on the Internet girl infamous The most The most infamous girl on the Internet on the The most infamous girl and “ “ and Parker Ito’s Parker Parker Ito’s Parker 28 A CUBE HAS SIX SIDES PART 1 Documentation As Art “ COMPOSITION 6 National Gallery National ” curatedby

CHEWDAYS at Grand Century Grand 29 A CUBE HAS SIX SIDES PART 1 Documentation As Art 30 A CUBE HAS SIX SIDES PART 1 Documentation As Art Cartesian Vision Cartesian COMPOSITION 7 and“ WORKSSS ” at Jr. Projects 31 A CUBE HAS SIX SIDES PART 1 Documentation As Art 32 A CUBE HAS SIX SIDES PART 1 Documentation As Art 33 A CUBE HAS SIX SIDES PART 1 Documentation As Art

column detail COMPOSITION 8 COMPOSITION and a Nadia Belerique " by " by Bed Island " 34 A CUBE HAS SIX SIDES PART 1 Documentation As Art Robert AnthonyRobert O’Halloran COMPOSITION 9

at Warner Gallery and a manlookingout 35 A CUBE HAS SIX SIDES PART 1 Documentation As Art 36 A CUBE HAS SIX SIDES PART 1 Documentation As Art Brad TroemelBrad COMPOSITION 10 , Mike Goldby

, and Le Corbusier 37 A CUBE HAS SIX SIDES PART 1 Documentation As Art 38 A CUBE HAS SIX SIDES PART 1 Documentation As Art Appendix Space COMPOSITION 11 anda

Roman Church floorplan 39 A CUBE HAS SIX SIDES PART 1 Documentation As Art 40 A CUBE HAS SIX SIDES PART 1 Documentation As Art by by Dominoes COMPOSITION 12 Ben Schumacher and“ From WhoseGroundHeaven andHellCompare ” 41 A CUBE HAS SIX SIDES PART 1 Documentation As Art 42 A CUBE HAS SIX SIDES PART 1 Documentation As Art of ourpeers a COMPOSITION 13 decentralized networkdecentralized ”

and“ An Immaterial Study 43 A CUBE HAS SIX SIDES PART 1 Documentation As Art 44 A CUBE HAS SIX SIDES PART 1 Documentation As Art comics by COMPOSITION 14 Carole Conde and Karl Beveridge 45 A CUBE HAS SIX SIDES PART 1 Documentation As Art 46 A CUBE HAS SIX SIDES PART 1 Documentation As Art 47 A CUBE HAS SIX SIDES PART 1 Documentation As Art

carving " Dean " The Power Plant The Power COMPOSITION 15 COMPOSITION and " at The Mouth Holds the Tongue " The Explosionofthe White Cube

48 A CUBE HAS SIX SIDES 2 PART Cube, Time &Space The Architecture oftheWhite Libyan Desert? realm, whichhides the secrets ofthe to take my machineinto that unreachable storyteller. WillIever have the chance in methatthe alsoglimmers eye ofthe of the desert. dreams outthere somewhere inthe heart the hiddenmythical city, which Zarzura, secretivelyThe oldmanwhispers about 32 Zarzura! ItsnameraisesZarzura! the desire Society Library, 1934) (Budapest: Hungarian Geographical László Almásy, The UnknownSahara 32 ,

49 A CUBE HAS SIX SIDES

The White City The White

As demonstrated by Almásy’s search Almásy’s As demonstrated by for The White City, an oasis exists more White City, The for a physical as an ideal (or dream) than through The oasis gains its power space. its contrast with its surroundings. settlement, but also made reference to the settlement, but also made the depiction presence of water through of figures swimming. a fertile spring as the legend told. a fertile spring discovered a series Almásy However, caves that not of rock paintings in nearby of human only proved the existence its location was a mystery. It was not a mystery. its location was László that an explorer, until March 1933 Almásy’s To discovered the oasis. Almásy, Zarzura was no longer disappointment, Zarzura, the legend of the legend Zarzura, to lie in the unmapped oasis, was said For centuries desert. Sahara the of corners

The Architecture of the White of Architecture The Cube, Time & Space & Time Cube, PART 2 The Explosion of the White Cube of the Explosion The 50 A CUBE HAS SIX SIDES PART 1 Documentation As Art mouth. As aresultofpostIndustrial on hisbackandthetasteofsandin from tropicalspringsbecauseofthesun the shadeofpalmtreesanddrinking The thirstydesertwandererhallucinates for theoasis. White Cube) becomes a primary location Within themoderncitygallery(or the stillnessandsolitudeofdesert. movement (ie.floraandfauna)amongst while thedesertwandererseekslifeand amongst thechaosofmoderncity, wanderer seeksstillnessinemptyspace from thedesertwandererinthatcity inversion. The citywandererdiffers of urbancities,theoasissawan Revolution society, andthedevelopment 51 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube - actual Displaying the (1942), and Celant, . (Flammarion: Paris, 1977). 37 (Cambridge: The MIT The MIT (Cambridge: found between the years 33 space Gilles Deleuze and Claire Parnet, Marvelous: Marcel Duchamp, Salvador Marvelous: Marcel Exhibition Dali, and Surrealist Installation Press, 2001). Dialogues II , but it wasn’t until 1976 that the , but it wasn’t 35 and 36 37 Lewis Kachur, time The Fourth , to the use of white cubes floating in space to , to the use of white cubes floating in space 34 (United States: S. (1977), Duchamp’s (1977), Duchamp’s 36 Charles Howard Hinton, characters that stands for a word or string of words in a corpus. 2 Volume The Monthly Illustrator, (Harry C. Jones, 1894) 196. Dimension 1906) 143. Sonnenschein & Company, 33 N-gram: a sequence of variable 34 35 virtual DECEMBER 15, 2010: ideology to artistic medium. Applying theories such as Deleuze’s Applying theories such as Deleuze’s ideology to artistic medium. and Le Corbusier (1926) to O’Doherty (1976), in order to contextualize Le Corbusier (1926) to O’Doherty (1976), documentation images online, network culture and the proliferation of Cube shifts from an White of the and to understand how the architecture the twentieth century, and now into the twenty-first century, the White the and now into the twenty-first century, the twentieth century, of contemporary exhibition Cube gallery has dictated the narrative from White Cube ideology, This essay examines the Modernist design. describe the fourth dimension in 1906 as a term to describe an exhibition space dominat White Cube emerged walls. For the better part of ed by Modernist ideology and whitewashed Ngram Viewer produces a graph that instantly displays the history of the produces a graph that instantly Viewer Ngram likeness to a of a building’s term. It begins with an early comparison white cube in 1894 Google launches the Ngram Viewer, an online interface that queries the an online interface that queries Viewer, Google launches the Ngram April 2013) for any as of Google Books database (30 million books word, or short sentence, using yearly n-grams phrase “white cube” the a simple search for the With 1800 to 2014.

52 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube theoretical frameworktosupportthisclaim.Moreover, inordertoproperly Demand, andKoolhaas’ surface, exhibitiondesign, must looktothedevelopmentofmodernarchitecture, aestheticsof understanding theinfluenceoflimitsandedgeson WhiteCube,one purpose ofextendingthem,isatwentieth-centuryhabit.” edge. Studyingnotthefieldbutitslimits,anddefiningthese limitsforthe century. Art during“thenineteenth centurylookedatasubject—notits century butratherwasbornoutoftheModernistcondition thetwentieth linear progressionfromthesalonstyle twentieth century, andnotedthatthe White Cube Cube emerged ingalleriesandmuseumsatthebeginningof O’Doherty. Heobserved thatthearchitecturalfeaturesof White introduced asaconcept,inthreearticlespublished years itwasnotuntil1976thatthe“WhiteCube” related techniqueshavebeenusedforhundreds—ifnotthousandsof to accessandsetoff fromtheoutsideworld. tombs, whichalsodisplayedpaintingsandsculpturesthatweredifficult like thosefoundby Almásy inthe principles.” other classesofchambersthathavebeenconstructedonsimilar significance withinthisseeminglyemptychamber, “onemustlookto would detractfromitsownevaluationofitself.” with thefactthatitis“art,”workisolatedfromeverything is alsoanideal.By“subtract[ing]fromtheartworkallcuesthatinterfere dominated bywhitewalls.However, the White Cubeismorethanthis:it around thenotionof architecturalvocabulary.specific Thisvocabulary centres very a within DAYS, and Appendix Space. The twenty-firstcenturygalleryoperates limited to,CanadianartistBenSchumacher, Tobias CzudejofCHEW artists, curators,andgalleristsIwilldrawonprojectsby, butnot understand theongoinginfluenceof WhiteCubeoncontemporary 42 41 Ibid. 40 39 38 FondazionePrada,PressRelease: 531-554 (Article) The JohnHopkins 46, Number4,Summer 2013,pp. Studies, VolumeEighteenth-Century Enlightenment: Chardinas Tapissier. Whyte, Ryan. Exhibiting Press, 1976)14. (Berkeley: UniversityofCalifornia 1969/Venice 2013.2013 When Attitudes BecomeForm:Bern Ibid., 14. Brian O’Doherty, 40 Functionallycomparablespacesincludepaintedcaves, Inside theWhiteCube

White Cube,whichappearsinitiallyasagallery double occupancy

and Modernphotography.

White City 43 42 Press, 1976)20. (Berkeley: UniversityofCalifornia Brian O’Doherty, design.” arrangement wasbasedonaunified recognition thattheeffect of the Salon both atotalityandcollectionofparts, an observationthattreatedtheSalon Mar 2015.“Chardin’s efforts merited University Press.Date Accessed: 23 galleriesofthenineteenth 38

41 (2013) , andEgyptianburial Although evidenceof

39 was coined,and

did notconcludea Inordertofind

will helpprovidea Inside theWhiteCube Artforum 43 Keyto byBrian

- 53 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube the , , a

Le Corbusier 44 Cubism and Abstract aesthetic when Barr made made Barr when aesthetic

Charlotte Klonk, Spaces of Experience: Art Gallery Interiors from 1800 to 2000 University Press, Yale (New Haven: 2009), 138. 46 […] without any ornament or

The walls were painted white to The walls were 46 the free designing of the ground plan , Jeanneret-Gris, better known as the architect Jeanneret-Gris, better the free design of the façade. Five Points Towards a New Architecture a New Five Points Towards , and Towards a New Towards Édouard . Translated by John Translated . the roof garden MODERNIST MODERNIST , Street that now serves as MoMA’s home, Barr was able to home, Barr MoMA’s Street that now serves as MANIFESTOS rd Le Corbusier. Le Corbusier. Architecture Angeles: Getty Research Goodman. Los Institute, 2007. As modern architecture began to grow in popularity, its own in popularity, began to grow As modern architecture 45 44 45 Ibid. signified the beginnings of the White Cube White the of beginnings the signified Art the gallery as austere as possible. the artworks, and rugs were provide the greatest possible contrast to flooring. removed, exposing hardwood or tiled formed Museum of Modern Art. In the former Rockefeller townhouse on Art. In the former Rockefeller formed Museum of Modern 53 West 11 The exhibition titled defining style. his pioneer converged at the Museum of Modern Art in New York City in the 1920s convergedYork Art in New at the Museum of Modern and Bliss, Lillie P. Aldrich Rockefeller, Abby and ‘30s. In 1929, founders Alfred H. Barr the director of the newly Mary Quinn Sullivan appointed frills.” its The color white, and aesthetics were adopted into other contexts. to influence conversations that connotation of limitless space, started horizontal window that followed the idea that a became known for his simplified designs house was “a machine for living in Le Corbusier, published Le Corbusier, The five change the world. manifesto proposing how architecture could to any modernist building are: points that Le Corbusier cites as essential the supports In 1926, Charles- 54 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube adopted inordertocreateamoreversatilespaceastemporaryexhibitions Le Corbusier’s ideas on the flexible ground plan and moveable wall were a rallyingcrytoestablishphotography’s form placeasajustifiableart director ofphotographyattheMoMA,published modernist rejectionofillusion. thenewtechnologyservedas a catalysttothe tions; arecognitionofhow Monet’s undressed,wall-mounted,canvassesto photographicreproduc tion. InO’Doherty’s ownevaluationof width [must]amounttoaformalabyss” seems likealogicalconclusionconsideringthat“theinchof thestretcher’s painting endsatthewall.Seitz’s decisiontoremovetheframenow painting comesfromitsdenialofillusionandconfidentassertionthatthe ture.” “has everythingtogainfromanintimatecollaborationwitharchitec “control allconditionsunderwhichitisexhibited”andbecausepainting sculptor, favoursthemuralpaintingbecauseofartist’s abilityto of method.” be quitefrankwithitsmeans—illusionismbreaksdowninababble a windowintonewreality. Alternatively, themuralpainting“tendsto within themedium,dominatedpainting. An easelpaintingactedas a mobileandaffordable platformthatembraced theinherentillusions Since theRenaissanceandinventionoflinearperspective,easel, curatorial gesturewasareflectionoftheshiftinaestheticssurface. wall butalsoinsetcanvasessotheyappearedflushwiththewall. This frame. SeitzchosetonotonlymountMonet’s canvasesdirectlyto the impulse toremovetheornamentalexcessofnineteenth-century turning pointinthedevelopmentof White Cube becauseofSeitz’s transcendent whenmountedontheinfinitespaceofwhitewalls. for hisgreatMonetexhibitionthattheedgesofpaintingsappeared William C.Seitz,avisitingdirectorattheMoMA, became increasinglypopular. The Monetexhibition,titled In 1966,oneyearafterLeCorbusier’s death,JohnSzarkowski,the 49 48 47 50 However, itseemsthat Modernism’s revivalofthemural Thomas Demand,“The White Cube Niklas Maak,Charlotte Klonk,and (1960). Museum ofModern Art, NewYork William Seitz,“SeasonsandMoments,” beyond. 3. comment/articles/white-cube-and- 2011, http://www.tate.org.uk/context- Modern and Beyond:MuseumDisplay,” Thomas Demand,“The White Cube Niklas Maak,CharlotteKlonk,and 49 , lastmodifiedJanuary1, HansFeibusch,atwentieth-centuryGermanpainterand 47 Tate However, itwasn’t until1960when

Seasons andMoments 51 50 Season’s andMoments 51 Press, 1976)25. (Berkeley: University of California Brian O’Doherty, 1947) 357. Burlington MagazinePublicationsLtd, Vol. 89,No.537 Burlington MagazineforConnoisseurs, H.R. “TheLiteratureof Art,” articles/white-cube-and-beyond. 18. http://www.tate.org.uk/context-comment/ Modern and Beyond:MuseumDisplay,” withinthemodernistcondi , lastmodifiedJanuary1,2011, The Photographer’s Eye 48 (Burlington: The (Burlington: The tookoff theframes Inside theWhiteCube , wasanimportant The The , helikens Tate

- , 55 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube -

- , frame

the New Docu , reached beyond the detail , the frame 52 of Modern Art. Diane Arbus, Lee Art. Diane of Modern Winogrand Garry Friedlander, the thing itself

as aesthetic attributes that the artist-photographer attributes that the as aesthetic

. The Photographer’s The Photographer’s (Garden Day: Double Day, 1966). (Garden Day: Double Day, vantage point John Szarkowski, New Documents (1967) Museum Eye, also exemplified his five points but which not only (1967), 53 52 53 The act of choosing and eliminating, forces a concentration on the picture picture on the a concentration eliminating, forces The act of choosing and the reflect edges, in all directions, of the edge […] These relationships meaning is photographic concerns in how visual and conceptual intentional of passive energized is either frame the What is contained within considered. to picture the allowing considered, are edges these depending on how them. and/or beyond edges the within resonate , and With photography in place, the White Cube included all mediums, place, the photography in With After Szarkowski curated successful exhibitions such as After Szarkowski curated successful exhibitions is little distraction for the gallery wanderer other than a distant memoryis little distraction for the gallery wanderer infinite white walls and open of the modern city beyond the seemingly modernist ground plan itself off from the outside world. Like an ancient burial tomb, it secludes from itself off Sunlight is to preserve the purity of its contents. itself in an effort There mounted to the ceiling. discarded in exchange for track-lighting, raphy joined painting and sculpture in the gallery of modernism. raphy joined painting and sculpture in for exhibition format presentation ubiquitous the became therefore, and confidently shuts White Cube design. In light of this progression, the ments and whitewashed walls, photog employed minimal framing techniques

photography and added to Seitz’s impulse to investigate the boundaries impulse to investigate the boundaries to Seitz’s photography and added of a work of art. has over the amateur enthusiast, casual snap-shooter, or commercial or casual snap-shooter, amateur enthusiast, has over the of popularized the works five points Szarkowski’s photographer. Evans, and Walker such as Lee Friedlander, American photographers theory of Szarkowski’s Paul Strand; however, medium and make it comparable to other, more traditional visual practices. practices. visual traditional more other, to comparable it make and medium as cites concepts such Szarkowski time alongside painting and sculpture. As any good Modernist would, good Modernist As any and sculpture. painting alongside of the qualities the inherent outline points that five devised Szarkowski 56 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube OFTHE AESTHETICIZING WALL THE classificatory senseis(1)anartifact (2)asetoftheaspectswhichhas IntroductionAesthetics: An philosopher, enforced thetheorythatartrestedoninstitutionin also thenotionofartasinstitutionaltheory. George Dickie,an American made iteasierforthemtonotonlypushModernistideology furtherbut modern artfromanacademicstartingpoint. Their educationalroutes figures such asBarrandSeitz,whobothstudiedatPrinceton,approached work ofartislargely duetoitsacademicandinstitutionalvalue.Key there.” fortifying theultimatetautology: An artworkbelongstherebecauseitis “The White Cubebecameacipherforinstitutionalofficiousness, became asstrongofanaestheticforcetheartworkthat itsupported. gap betweenthewhitewallsandartworkdisappeared, the wall instead became visible asahistorical construct ofModernism. away fromtheneutral,pure,containerthatitclaimedinitsinfancyand As the White Cube 55 ElenaFilipovic,“The Global White Simon Sheikh, 54 “Positively White Cube 55 journal/positively-white-cube-revisited/. e-flux.com, 2009) http://www.e-flux.com/ Revisite,” e-fluxjournal#3(Online: The White Cube’s TheWhite The Modernistwasmummified inside theWhiteCube.

developed intothegallerystandard,itstartedtodrift (1971).Dickieclaimed“awork ofartinthe

ability toturnanythinginsideofitintoa html#.VS2QKEJp18w issue-22-43/the-global-white-cube. http://www.on-curating.org/index.php/ (Online: oncurating.org, 2014)56. Cube,” Politics ofDisplay, Issue22

54 After the After

57 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube -

s gallery

(2012): 40, observation of 61 eRepository @ Seton Politics of Display, Issue 22 Politics of Display, Kevin Hetherington, “The Empty Gallery? Elena Filipovic, “The Global White Elena Filipovic, “The Global issue-22-43/the-global-white-cube. html#.VS2QKEJp18w Issues of subjects, objects, and space,” 2010). The Open University, (Online: Beyond – A critique of the aesthetic A Beyond – white cube,” Hall, Spring 5-2012, accessed March 1, 2015, http:// scholarship.shu.edu/cgi/viewcontent. cgi?article=1211&context=theses. Cube,” 2014) 53. (Online: oncurating.org, http://www.on-curating.org/index.php/

Barr even went as far as using the Barr even went as 62 61 57

, who has called for a systematic analysis of , who has called for a systematic analysis 62 critiques of the aesthetics of the White Cube critiques of the aesthetics of the (2012): 40, 60 Inside the White Cube Aesthetics: An Aesthetics: Therefore, as members acting on behalf of the on behalf of as members acting Therefore, eRepository @ Seton 56 (New York: Pegasus, York: (New white cube,” Hall, Spring 5-2012, accessed March 1, 2015, http:// scholarship.shu.edu/cgi/viewcontent. cgi?article=1211&context=theses. (Berkeley: University of California Press, 1976). Introduction 1971) 101. critique of the aesthetic A Beyond – central argument, which is focused on the relationship between which is focused central argument, 59 Moreover, during the 1960s, with the rise of abstract artists such of abstract artists during the 1960s, with the rise Moreover, 58 Ibid., 42. 59 Brian O’Doherty, Infiinty and Whitney B. Birkett, “To 60 56 George Dickie, 56 George Infiinty and Whitney B. Birkett, “To 57 58 Despite its Modernist ideology drifting away, the White Cube the away, Despite its Modernist ideology drifting and large art festivals such as Documenta and Manifesta. For the most art festivals and large Even White Cube as ideology. part these investigations deal with the Kevin Hetherington (2010) through an in depth analysis of the role of Alfred H. Barr and the Museum of through an in depth analysis of the role (2014) There is also Elena Filipovic’s Art. of Modern White Cube philosophy through global biennials the dissemination of essays, and theses. I have already referenced, at length, O’Doherty’ essays, and theses. I have already referenced, (1976) Whitney Also relevant are the viewing subject and the viewed object. (2012) Fehl Birkett’s of contemporary art; its has endured as one of the primary signifiers in numerous important books, history and philosophy has been explored fingerprints that Le Corbusier, Barr, Seitz, and Szarkowski left on the Seitz, Barr, Corbusier, fingerprints that Le White of the gallery were both the reason for the pristine white walls fall. rise and the cause of its ideological meteoric Cube’s relied Newman, and Jasper Johns, the audience as Frank Stella, Barnett paintings explain why these abstracted colour field on the institution to the strong-willed ideological art. Ultimately, were to be considered visitors as lowly consumer peons.” visitors as lowly consumer term “pretty” to discredit works of art that were understand too readily able. curatorial vision — a product of modernist ideology. This a class created visioncuratorial of modernist — a product ideology. during Modernism’s the audience. Even the curator and divide between elitist tendencies of White Cube’s art critics criticized the heyday, and as the ultimate purveyors of knowledge the curators “portraying (the art world).” (the art world).” were able to redistribute Barr and Seitz and/or privileged elite, institution, towards their own of the art world power relationships the existing held conferred upon in the status of candidate for appreciation by some by some for appreciation of candidate status upon in the conferred held social institution a certain behalf of acting on persons or some person 58 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube as architecturalspace. What Iamproposingisaninvestigationof the galleryitself,ismoreinterestedinassocialspacethan a networkculture,societynever feltthealienationandelitismthatcame a similartransformation. more ofanidealthenphysicalspace,theideology White Cube emergence asmedium.JustLászló Almásy’s oasisturnedouttobe our attentiontowardsitsmoreformalqualities,whichhas resulted inits the White Cube,thoughofcoursestilloperating asideology, hasfocused that itsmagicisalmostsubconscioustotheyoungartisttoday. Today, its contentsintoarthasbecomesoingrainedincontemporary society and whatremainsofthe White Cube’s institutionalabilitytotransform discussion. The ideologicalfervorofModernismhassincereceded was bothwhatallowedforitscreationandattheforefront ofthe victor. respective virtual exhibitionspaces)bothmadevaliantefforts tostagetheir projection insidethegallery)andNaughtCube twentieth andearlytwenty-firstcentury. TheBlack Cube(film/video/ It hasmanagedtosurvivetheevolutionofexhibitionpracticeslate Cube’sThe White medium, notideology. production —inotherwords,aconsiderationofthe White Cube the influenceofarchitecturalfeatures WhiteCubeonartistic The generationsthatwereborn intoapost-modernand,morerecently, 64 63

During the White Cube’s conception,theideologyofModernism existing governmentby asmallgroup violent overthroworalteration ofan of forceinpolitics;especially: the Leon Battista Alberti, Leon Coup d’état:asudden,decisiveexercise coup d’états WHITE CUBE

current placeincontemporaryartisinteresting. MEDIUM On the Art of 63 ; however, the White Cuberemainstheclear AS AS

1998) 194. Tavernor (Cambridge, MA:MIT Press, Joseph Rykwert, NeilLeachand Robert Building inTen Books

(online/interactive/ (1486),trans.

has seen

59 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube

virtual and column-ness fresco. author Leon 65 actual images. This cloud images. . is comparable to a

virtual virtual trompe l’oeil l’oeil trompe Deleuze explains that “every and the actual is comparable to a cave, or an Egyptian to a cave, or an is comparable

images to project out from it and display images to project out from it and display In sixteenth-century Italy, Jesuit brother and Italy, In sixteenth-century Dialogues II, 64 images are distributed, and around which they images are distributed, and around which virtual On the Art of Building in Ten Books, Art of Building in Ten On the a style of painting in which . (Flammarion: Paris, 1977) virtual Trompe l’oeil: Trompe objects are depicted with photographically realistic detail; something that misleads or deceives the senses. Gilles Deleuze and Claire Parnet, Dialogues II 112. Both spaces represent the manifestation of an ideal. Historically, the manifestation of an ideal. Historically, Both spaces represent

An object, perhaps a Corinthian column, has an actual meaning

[object] surrounds itself with a cloud of [object] surrounds itself with a cloud of 66 65 66 Gilles Deleuze, a French philosopher who rose to prominence in the Gilles Deleuze, a French philosopher who notions, ideals, memories, and interpretations of columns. For example, notions, ideals, memories, and interpretations Andrea Pozzo used the Corinthian column in Sant’Ignazio the reason that run.” object’s The column. a as identified be to ability its is which allows for a cloud of actual extensive coexisting circuits, is composed of a series of more or less along which the has both an 1960s, developed the notion that an object meaning. In his 1977 text, These features worked to communicate awe and spectacle — a strategy These features worked to communicate spatial strategy of using physical to keep faith in the church. Pozzo’s order to project an ideal is similar (in this case architectural) structures in to the Deleuzian notion of the Working during the Baroque period, Pozzo used rows of Corinthian during the Baroque period, Pozzo used rows of Corinthian Working nave so they would observe the columns to contain visitors in the main grandeur of the vaulted ceilings and Pozzo’s the mind wonderfully, captivates it with grace and admiration will captivates it with grace and the mind wonderfully, greatly encourage piety.” of Sant’Ignazio in Rome. Andrea Pozzo designed the Church architect a total environment that communicates idealistic feelings or virtues. that communicates idealistic feelings a total environment As early as 1486, in delights “there is no doubt that a temple that Alberti states that, Battista the programmatic design of a church has been to silently use specific of a church has been to silently use the programmatic design vaulted (columns, corridors, colonnades, niches, architectural features to create attention to the building, but rather ceilings), not to attract ure, Modernist, If the pure, Modernist, therefore, survival. of financial gain, and possibility White empty-container Cube White Cube contemporary burial tomb, then the church. contemporarythe artist Once safety and survival. Cube represents White of a space that is both there is the relief White Cube, the arrives in the as well as of artistic professionalism of a certain caliber representative in the wake of the Modernist White Cube. Therefore, the ideology of the of the the ideology Therefore, Cube. White Modernist wake of the in the The today. artist for the young an ideal become Cube has White 60 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube The greatestexampleofthiscanbeseenin Agrippa’s (andthenHadrian’s) was becauseoftheRomans’ successinusingitasmeansofciviccontrol. resulted intheexplosionof White Cube. fracturing ofphysicalspacedue totheproliferationofvirtualspacehas the ceilingasscreen-basedimages ratherthanarchitecturalstructures. This became morecommontoobserve thepresenceofwall,floor, and documentation imagesthatdepictartinstalledwithinthe White Cube,it White Cubebegantochange.Duetherate,andquantity, ofonline magazines, catalogues,oreveninperson,thearchitecturalstr uctures ofthe experience exhibitionsviaonlinedocumentationratherthan through online. As theInternetbecame ubiquitousandmorepeoplestartedto beyond thephysical,duetoproliferationofdocumentation images within thelast10yearsactofvisiting White Cubehasmoved photography isprohibitedwithinholysitesaroundtheworld. Conversely, millions ofviewerson TV like church. Moreover, withtheexceptionof Televangelism showsthatdraw on thehumanscalebeingdwarfedbymonumental ofthe present inthespace. The aweandspectaclefeltuponenteringisreliant the virtual.Inachurch,mainentrypointisbyphysicallybeing and the White Cubeprovideaccesstotheexperienceofactualand important distinctiontobemadeisthedifferent waysinwhichachurch by thephysicalconstructionofthiscanonicalspace.However, an to theeye,butsubconsciouslypresent,itisbothactivatedandreinforced just belowtheflorescenttracklightinginside WhiteCube;invisible cemented into contemporary art (largely thanks to O’Doherty) now floats present, andthepreservationofpast.” the differentiation ofitspassage intotwogreatjets:thepassingof actual “correspondstothemostfundamentalsplitintime,thatissay, it all—theJesuitfaith. This distinctionbetweenthevirtualand of piety, Agrippa’s strategiesofcontrol,andcoursetheculmination cloud ofvirtualimagesthatsimultaneouslyprojectedPozzo’s ambitions main navewhenitwasconsecratedin1722weresurroundedbyavast obedience. Moreover, those whosatintheexpanseofSant’Ignazio’s using the column hecould guide visitors towards piety rather than civic a freedomofaction(whichitinfactdenied). space —notonlyinavisualsensebutalsowaythatimplied entrance ofthePantheonprovideillusionafluiditylineand design ofthePantheon. The 16columnsthatlinetheexteriorofmain The White Cubeoperatesinparallel. The ideologythathasbeen 67 York: Yale UniversityPress,1982) 179. Architecture oftheRomanEmpire William Lloyd Macdonald, The The . (New

Hour ofPower 68 114. Dialogues II Gilles DeleuzeandClaire Parnet, 68 67 Pozzobelievedthatby . (Flammarion:Paris,1977) , generallyanyformof

61 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube

69 .

art,

as art to documentation Perception of Three-Dimensional Space of Three-Dimensional Perception 29, No.2, pp. 87-94 Vol. Leonardo, Press, 1996) 2. The MIT York: (New of

BE CU Architecture of Images: Architecture

Today’s city streets, buildings, and city streets, Today’s

Daniela Bertol, An Investigation of Architectural Architectural An Investigation of and the Visual Representations ommunications giving life to our cities ommunications giving life walls, floors, and roofs […] The visual walls, floors, and

and homes happen through light and images. and homes happen through

homes are not merely a collection of sidewalks, a collection of sidewalks, not merely homes are W HI TE

EX PLO SI ON

OF THE OF THE THE contemporary artworks that appear on popular blogs like Contemporary contemporary artworks that appear on was that of the documentation image. The effect of the online documen The effect was that of the documentation image. the in however, clear; made been has production artistic on image tation wake of the shift from documentation Among the countless images of has also been altered. White Cube the from a novelty to a utility. Artists started to understand how their work Artists started to from a novelty to a utility. of versions that would result in the would be distributed online in an array Chief among these versionscreation of additional layers of experience. As established in part 1, the rise of network culture saw the Internet moveAs established in part 1, the rise of network 62 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube TIME 2:51 PM)the White Cubeisonperpetualdisplay. The rateandspeedat Art Daily and Art Blog Art Blog (nolonger active as ofMarch 30,2015, fourth dimensioncamein1912 withtheCubistworkofart plane. Duchamp’s first successwiththepictorialrepresentationof fourth dimensionalongsidethe pre-existingthree-dimensionalCartesian century, wasamong thefirsttobeinterestedinrepresenting Marcel Duchamp,oneofthe most importantartistsofthetwentieth qualities thatdefinethe White cubeasmedium—timeandspace. In ordertounpackthisnotion,itisimportantunderstandthetwomain by, andrelatesto,thearchitecturalfeaturesof White Cubegallery. examines howtheproductionofcontemporaryarthasbeeninfluenced impetus toexplorethe White Cubeasmedium — anapproachthat culture andconsciousness.Furthermore,thisexplosionisthemain interestingly, itsveryfabrichasbeenalteredbythedualityofourcurrent post-physical space;thisisnottosaythatitonlyexistsonline,but,more ing becomequiteevident. The White Cubehasdevelopedintoa of images.” resulted ina“reductionofarchitectural[andexhibition]spacetoseries properly examined.Digitalimagecapture,togetherwiththeInternet,has various architecturalfeaturesand suspendstheminlimboordertobe ideology, butratherafragmentation thatseparatesthe White Cube’s mean tosuggestaliteralexplosion,orevenanexplosiondismantle explosion ofthe White Cube’s componentparts.Byexplosion,Idon’t which thistypeofvisualscrutinyoperatesonlinehasresultedinan 70 Ibid. 70 Heretheeffects ofnetworkcultureandubiquitous comput

AND SPACE Nude time asthe

- 63 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube . space (Cambridge, and , he [Duchamp] (February 1966) 234. time Art in America 66, no. 1 Art in disembody the Surrealist in 1942, he brought the he brought in 1942, 71 Robert Morris, “Notes on Sculpture,” Tense Robert Morris, “The Present Continuous Project Altered Daily: The Daily: The Altered Continuous Project of Robert Morris Writings Press, 1993) 177. The MIT MA: Artforum, no. 2 of Space” (January-February 1978); republished in 74 Ibid. 75 76 Therefore, by suggesting that vision Therefore, by suggesting that vision String Piece

74 Furthermore, Morris’ model of Furthermore, Morris’ ” Duchamp and Morris suggest that by 75 I. The tangled mesh that filled the Whitelaw the mesh that filled The tangled 76 72 . However, when Duchamp filled the filled Duchamp when . However, .” to each other, a totality of experience is to each other, First Papers of Surrealism , he introduced the concept of the gallery as the concept of , he introduced (online, e-flux. space Not only does Displaying the 73 corporeal http://www.e-flux.com/

(Cambridge: The MIT Press, The MIT (Cambridge: and self-important.” , American minimalist artist Robert Morris indicated a lack , e-flux journal #4 String Piece time Filipovic, Elena. “A Museum That is Museum Filipovic, Elena. “A Lewis Kachur, New York, 1942. New York, Not.” com, 2009), journal/a-museum-that-is-not/ Duchamp, Salvador Marvelous: Marcel Exhibition Dali, and Surrealist Installation 2001) 183. First Papers of Surrealism exhibition, First Papers of Surrealism 72 73 71 donnés created and the entire space becomes activated for the gallery visitor or created and the entire space becomes activated of But how does this relationship change when “our sense museum-goer. Morris goes on to say that “real space is not experienced except in real Morris goes on to say that “real space is The Body is in motion.” time. connecting becoming less “the intimate inseparability of the “presentness” sought to bring together an ongoing immediate present.” experience of physical space and that of Étant of control of the entire situation. of interest in the object itself in favour are to object, light, space, body, “Control is necessary if the variables of The object itself has not become less important. It has merely function. is under the control of the body and renouncing the art object, in favor of is under the control of the body and renouncing fusion of a total installation, Duchamp calls for a major work in 1966, the same year Duchamp finished his last Similarly, below the other works in below the other works Jones terms Amelia notions of unique authorship. undermined traditional authorial this “slippages of the same thing there.” of the the corporeal, it also subverts ownership preoccupation with above, and By installing the string through, around, traditional art object. Duchamp underlined this distinction in a 1953 interview, saying of the this distinction in a 1953 interview, Duchamp underlined thick through a curtain, can always see through a window, string: “You want to, see always [all the way] though if you or not thick, you can condition of possibility is the approach of the body [therefore making] [therefore making] approach of the body of possibility is the condition vision decidedly frustrated vision completely but rather cut off Reid Mansion did not in the space. to make the body aware of its presence vision, in an attempt theory of the fourth dimension into the physical exhibition space. With With space. into the physical exhibition the fourth dimension theory of Duchamp’s that “vision’s progression) by asserting space (not a linear immersive Descending Staircase, No. 2 Staircase, Descending twine with white Mansion Reid Whitelaw 64 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube as bytheremoteplacesconnectedtouswebofcommunications?” space andtimeisnotdeterminedasmuchbythephysicalweoccupy display it. As aresultoftheaforementionedexplosion, flatteningof photographic apparatusaswellthebacklitscreenthatwill eventually within it,intoasingleflatplane. Thiscompressionistheresultof physical spaceofthe White Cube,aswelltheartworkdisplayed Duchamp’s notionof philosophy —orwhatIcallthe“WhiteCubeasmedium.” Returningto image, Droitcour’s articlefailstorecognizethevalueofPost-Internet desire toproduceanobjectfortheendgoalofproducinga documentation Although oneofthedefiningqualitiesPost-Internetart mightbethe elaborates onhisdefinition: operates purelyonthesurface—lackingactualskillorcraft.Droitcour inform, infersthattheartemerged outofa Post-Internetideology Droitcour’s comment,whichisclearlymeanttoentertain,morethan “Post-Internet artdoes to artwhatporndoessex—rendersitlurid.” over-reliance ondocumentation.Droitcouropenswiththeclaimthat Art, America, becoming, ‘deathinperson.’” ject thatisphotographedrenderedobject,dispossessedofitself,thus forever throughitsdisseminationonline. As Bartheswouldsay, “thesub of deathtocomeintheformdocumentation,whereitwillthenlive when thephysicalexhibitionisessentiallywaitingforinevitability the otherhand,thereisagreatdramathatplaysoutin White Cube can stillpossesthetotalityofexperiencethatDuchamppioneered.On os. Ontheonehand,physicalexhibitionsarestillopentopublicand gallery hasshiftedconsiderably. Intermsof the bondthatMarcelDuchampforged between Since theexplosionof White Cube,anditsemergence asmedium, a cynicallookatthegenre’s apparentshortcomingsmainlyduetoits supports the documentation),filteredsupports for highcontrast andcolors thatpop. purifying white cube(adoublefor the white fieldof the browser window that that lookgoodonline:photographed underbrightlightinthe gallery’s installation shots Post-Internet presented isaboutcreating asart. objects art I know madefor Post-Internet itsown installation shots, whenIseeart or art 78 77 94 Space,” of Three-Dimensional Perception Representations andthe Visual An Investigationof Architectural Roland Bathes, Daniela Bertol,“ArchitectureofImages: Brian Droitcourwroteanarticletitled (New York: The MIT Press,1996)2. Leonardo, Vol. 29,No.2,pp.87- Camera Lucida: space, the documentationimagecompresses 78 In theNovember2014issueof 79 2014, October302014. November in America, Internet Art, Art Wang, 1980), Richard Howard(New York: Hilland Reflections onPhotography, Brian Doitcour, time, The PerilsofPost-Internet time

there aretwoscenari 14. The PerilsofPost- and space trans. insidethe Art in

79 - 77 -

65 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube , while (Cambridge, surrounds ,” Media Art. Toward a Art. Toward ,” Media (Rome: Gli Ori , 2015), 9. Similar to the mural painting, the mural painting, Similar to Domenico Quaranta, “Situating MA: The MIT Press, 1993) 182. The MIT MA: Post Internet Age of Art in the New Definition of Technology, Continuous Project Altered Daily: The Altered Continuous Project of Robert Morris Writings 80 82 Live in Your Head: When Attitudes Head: When Live in Your Therefore, in the context of the White Cube Therefore, in the context of the 81 . Painting and 82 Art in America 66, no. 1 Art in (1969) for the Venice Architectural Biennale. Venice (1969) for the surrounded Michael Baxandall, Tense Robert Morris, “The Present Experience in Fifteenth Century Italy (Oxford: Oxford University Press, 1972) 48. of Space” (January-February 1978); republished in 80 81 [in the world]. This idea does not manifest itself as a single object, but is most itself as a single object, but is most manifest idea does not This world]. [in the gathers it travels, free, it digital image. It is the by exemplified effectively used, abused, perused, and it can be appropriated, way, along the metadata but it ephemeral, It’s contexts, up in different can show It further developed. can survive. What’s important is not the piece in there [the gallery], important [the idea out there piece in there but the What’s the is not of Harald Szeemann’s exhibition of Harald Szeemann’s Become Form predecessor, Net Art, or even the profit-driven commercial art that it had Art, or even the profit-driven commercial art Net predecessor, notions of the collaboration been accused of being. In 2013, similar space) were seen in the re-staging between art and architecture (time and In examining Post-Internet as philosophy through the architectural guise In examining Post-Internet as philosophy White Cube as medium, it is clear that the art that developed out of the Conceptual art than its of this genre is actually more in line with Quaranta arrives at a similar conclusion: the Post-Internet object Quaranta arrives at a similar conclusion: idea or concept rather than a functions best as a representation of an vapid art-market fad. between exhibition and exhibition space, architecture and sculpture, and and exhibition space, architecture and between exhibition published on the occasion of the White Cube. In an essay object and 1, 2015), Domenico Festival in Rome (February 25 to March Art Media as medium, the value of the Post-Internet object does not come from its of the Post-Internet object does not come as medium, the value the market, or its value as an object on innate desire to be documented, gap through documentation, to eliminate the but rather its ability, to Robert Morris, sculpture and architecture have always endured a and architecture have always endured to Robert Morris, sculpture assertion that architectural space polarity based on the a sculpture is visualizing activity of the public mind.” activity of the public visualizing with architecture an intimate collaboration object shares the Post-Internet White Cube as well as a similar between it and the through the synthesis According ne. of the public mind” through its life onli “visualizing activity however, it would be more appropriate to call it a synthesis — a levelling to call it a would be more appropriate it however, painting was an Italy the mural 15th fifteenth century of sorts. In on the wall, and the the configuration between the painting, “interaction the exhibition space brings the artwork and the architecture of the White White of the the architecture and the artwork brings space the exhibition as a collision; perceived could be glance, this first Upon together. Cube 66 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube OCCUPANCY OCCUPANCY OCCUPANCY OCCUPANCY OCCUPANCY OCCUPANCY OCCUPANCY DOUBLE DOUBLE DOUBLE DOUBLE DOUBLE DOUBLE DOUBLE OCCUPANCY OCCUPANCY OCCUPANCY OCCUPANCY OCCUPANCY OCCUPANCY DOUBLE DOUBLE DOUBLE DOUBLE DOUBLE DOUBLE

67 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube

84 - - .” ). last Searle goes show has 85 Attitudes The Guardian, The Guardian, Attitudes This architectural gesture 83 is also a strong framework to modified May 31, 2013. http://www. theguardian.com/artanddesign/2013/ may/31/prada-venice-biennale-2013. spirit of the 60’s,” spirit of the 60’s,” exhibitions. In a review published at Ca’ Corner della Regina for the della Regina for Corner at Ca’ 86 Ibid. When in the exhibition press release; which is a in the exhibition press Attitudes , Szeemann’s original , Szeemann’s an interesting duality emerged out of the an interesting duality emerged double occupancy space time, . 2013 , author Adrian Searle equates the resemblances between between resemblances the equates Searle Adrian , author double occupancy 2013, eight years after Harald Szeemann’s death, Germano Germano death, Szeemann’s after Harald eight years 2013, st ) and exhibition space as documentation (2013 ) and exhibition space as documentation Fondazione Prada [Press release]: Adrian Searle, “From Prada to povera: Attitudes Become Form: Bern 1969/ 2013 Venice Biennale recaptures the Venice the When Attitudes Become Form Attitudes When 83 84 Ibid. 85 The Guardian The the original and the restaged to that of a strange yet magical dislocated the original and the restaged to that of a and dislocation. double-take — a weird feeling of time-slip shown how things have changed on to say that this double-take has also Similarly, in terms of Similarly, 44-year gap between the two in of the past event, and to be able to experience and analyze it literally of the past event, and to be able to experience of exhibition space (1969 Here the duality becomes the documentation Attitudes actions within that space. The iconic images of Serra and Weiner surely Weiner of Serra and The iconic images actions within that space. to make the staging of their influenced Celant, Demand, and Koolhaas for photographs and films exhibition an attempt to “avoid the necessity tion. First, in terms of in the development of the already been cited as in important mark not only the physical documentation image for its ability to capture the people and their gallery space, and objects, but more importantly Although these two forms of occupation may have been the original Although these two forms of occupation impetus for such a term, are present within this exhibi describe the various other dualities that reference to both the original occupation of the Kunsthalle by the artists original occupation of the Kunsthalle reference to both the twentieth-century invasion of the Kunsthalle’s in 1969, as well as the Regina. Corner della decorated rooms of the Ca’ rooms on the richly Kunsthalle, delimited by white wall surfaces, into the ancient frescoed by white wall surfaces, into the ancient Kunsthalle, delimited palazzo.” Venetian of the and decorated halls was termed Bern exhibition “including their relative positions — onto the historical their relative positions — onto Bern exhibition “including Corner della Regina, structure of Ca’ architectural and environmental of the on a full-size scale — the modern rooms thereby inserting — meaning from an artistic, architectural, and curatorial perspective. In a perspective. In and curatorial an artistic, architectural, meaning from of all three perspec to satisfy questions daring — effort brave — and in its “decided to graft the [original] exhibition tives the curatorial team the original installations and art objects” from totality — walls, floors, curated recreate this The motivation to Biennale. Architecture Venice the original’s from a debate about exhibition came ground-breaking On June 1 On June Rem Koolhaas) and Demand Thomas with (in collaboration Celant

DOUBLE DOUBLE DOUBLE DOUBLE DOUBLE DOUBLE DOUBLE DOUBLE DOUBLE OCCUPANCY OCCUPANCY OCCUPANCY OCCUPANCY OCCUPANCY 68 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube just havecareersandnetworks.” in theartworld:“Artistsusedtohavelivesandconversations.Nowthey architectural collisionofBern1969and Venice 2013. tion ofthiscompressiontime,vianetworkculture,throughthe however, whatisuniquetothe2013exhibitionitsphysicalmanifesta of timeismoreafunctiontheInternetthanituniqueto unclear —effectively —levellingthetwoexhibitions. This compression are presentedalongsideeachotherasversionswheretheoriginalis through asimpleGooglesearchboththeoriginalandre-staged network —theInternetthroughitsdisseminationonline.Consequently, today, there-stagingof rary art,hestumblesuponaninterestingobservation.Likeallmedia romantic notionsoftheoriginalexhibitiontobusinesscontempo When Attitudes BecomeForm 86 Although Searlewascomparinghis joins theglobal Attitudes Attitudes ; - - 69 A CUBE HAS SIX SIDES PART 1 Documentation As Art A CUBE HAS SIX SIDES SIX HAS CUBE A 5. The Window 6. The Doorway 3. The Ceiling 4. The Light 1. The Wall 2. The Floor also its philosophical identity. identity. also its philosophical structures that operate within the White Cube that operate within thestructures White Cube but architectural its only not and constitute the floor, the ceiling, the light, the window, the ceiling, the light, the window, the floor, and are all uniqueand the systems doorway we are provided a context within which to within to which a context provided we are The wall, as a medium. its structures examine As a result of the explosion of the White Cube, of the White Cube, of theAs a result explosion 70 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube work ambiguously sitbetween the as well asnot beingafraid to let his between architecture object and art to exhibit both an interest inthe line the wall’s guts.O’Halloran seems messiness inthe display of sculpture dueto the unabashed minimalist dialogue with hisformal is that O’Halloran doesn’t fall into a What isinteresting aboutthis piece that reaches towards the ceiling. arching extension to the galley wall Play-Doh andthecompound, titularmaterial tape,drywall paint, drywall Sheetrock, sprucewood, latex ries ofbecoming directly. Inapiecetitled the wall asstructure andsculpture Anthony O’Halloran engages with Warner Gallery, Robert artist 17, 2015atthe Toronto-based exhibition that openedonMarch space.” providing structure anddividing is atleast two essentialfunctions: canbe,butthere surface of vertical wall isjust asdiverse asthe uses [architectural]“The meaningofthe and not because ofthe wall itself. to the ideologyofthe White Cube this ismainlyfor due the most part, isclear.theticize artworks However, capacity to both legitimize andaes structure ofthe White Cube.Its The wall isarguably the defining 87 87 Rem Koolhaasetall,“Wall,” in In inorderto construct an Play-Doh , O’Halloran uses , the inaugural The Wall Trajecto

Elements of Architecture –14. - 1. - works. gesture Thesimple to exhibition spaceandexhibited potential collapsebetween material subtraction hintsatthe sheets. Belerique’s additionofthis mimic the dimensionsofbed water-jet cutsteel frame meantto body, stands quietly behindalarge space, the body, orrecord ofa beneath. Within the exhibition andexposingdrywall, the plywood wall,the removing gallery the cut the silhouette ofabodyout Gallery, titled solo exhibition atDanielFaria subtraction. InBelerique’s 2016 represent acomplimentary Belerique’s cut-outs drywall an additionto the wall, then Nadia two. IfO’Halloran’s work constituted a turntowards theatricality. The the White Cubehave experienced architecture of, andthe objectsin, the proliferation ofdigitalspacethe sion ofphysical spaceby way of Cube. Asaresult ofthe compres wake ofthe explosion ofthe White seen aninteresting divisioninthe of awall —dividingspace —has (White Cube). object)andcontextcontent (art intimate collaboration between ture, andinstead encourages an tion away from the wall asstruc remove alayer your percep shifts The secondarchitectural function

(Italy:Marsilio,2012), 3. Bed Island, the artist the artist - - - 71 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube -

Seau

91 Theatre Theatre to New York York to New set out to articu out to set Seau Banco embodies this embodies this Tomorrow Seau Banco Carbon Seau Banco Carbon Bed-Stuy Love Affair Love Bed-Stuy

, Seau Banco Carbon similarof notion to Morris’ , 2014 art object and architectural object, architectural and art object the artists’ work 35 exhibited and intertwined in overlapped service of the totality of the that The theatricality exhibition. from emerged Carbon, of result situation, is the entire the almost unfinished, dirty, works the which quality, found-on-the-street describes as “Slack Taylor Brandon curation of curation first. While a fine-artfrom context Objects Theatre art, connection between the late theatricality, and architecture, Banco Carbon its installation. connection through amounted exhibition The resulting of tree consisted that works to birds, wall taxidermy branches, apples in sliced light fixtures, text, dish, and numerous a casserole works. wall-mounted traditional between gap the like Furthermore, pieces in servicepieces theatrical of a of The theatricality spatial totality. intimate art and architecture’s a only in not results collaboration mediums, but it of both leveling questions of the the also begs pieces set which these in narrative one in. On December 19, operate after of month opening the Objects Gallery opened at Tomorrow Foschli to In contrast York). (New and Niels the Jesus approached and Bobby architectural object into props/set props/set into object architectural - - - -

Theatre Objects, Objects, Theatre , Freid , Freid was established in Toronto by Tara Downs, Aleksander Downs, Tara by Toronto was established in Theatre Theatre As 90 However, However, 89 Theatre Objects: Theatre Tomorrow Gallery Tomorrow Theatre Objects Theatre in nineteenth-century in nineteenth-century Ibid., 80. Fredi Fischli and Niels Olsen, Ibid. In 2011, and Hugh Scott-Douglas. In 2014, Downs moved Hardsashnakov, and Hardashnakov and Scott-Douglas became involved in more of an advisory capacity. 88 is through the transforma the is through

88 89 90 91 the key to the success of the to key the Objects art the tion of both object and the interface for the in-between areas areas in-between the interface for of art and architecture. title, exhibitions the by indicated spheric installation. and its challenges Foschli despite an exhibition create out to Niels set as an stage theatrical uses the that situation outside the gallery, or gallery, situation outside the mimicking architecture imitation, by of an atmo creation the through edge the diffiutedge the fexhibitin assertion the through architecture functions through it either that a to referring by representation, an architectural context, the the context, an architectural of curators and Niels Olsen, acknowl Foschli opened at the LUMA Westbau Westbau LUMA opened at the the (Zurich) and investigated art,connections between architec Starting from and theatricality. ture, France. On November 22, 2014, On November France. titled an exhibition and Art Architecture for A stage referring to the invisible plane plane invisible the to referring is and audience, stage separating philosopher Denis the to attributed Diderot” becomes in service of another wall in servicebecomes wall of another fourth “The— the use of first wall. ‘fourth the wall,’ term theatrical the its main function is that of a is that its main function only Not studio. documentation a part become wall built does the it also stage, of a flattened gallery becomes synonymous with with gallery synonymous becomes when stage, or theatre set a movie 72 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube that theatricality -the Art.” isto acknowledge Art Slack architectural elementthat isalmost Itis thetized to itssurface. upright body; every step ismagne that mediates gravity andthe The floorisacustomary technology incomplete. spectacle itisdegraded or at the realization that asartistic but simultaneously disappointment (that most intimate ofresidues), projects junk ortheir personal someoneelse’s observing deserted fascination atthe prospect of of fascination and disappointment: on the basisofatwinstrategy expectation. works For Art Slack of the mechanismofviewer also beconstrued asareworking and the second-hand,itcan ished its preoccupation with the unfin works against idealization.Given initsgenerality more, Art Slack a static tableauallows. iconographical richnessthat as inthe theatre, butwith allthe constructed explicitly asillusion, to the pointatwhichnarrative is — whichhasdeveloped formalist modernisminthe 1960’s The Floor 95 94 93 92 Ibid., 24. Rem Koolhaasetall,“Floor,” in Ibid. Brandon Taylor, 93 2. Avant-Gardeand After

bête noirebête 92 Further

Elements of Architecture –14.

of - - - , (New York: HarryN. Abrams, 1995)153. organized anexhibition atthe BenSchumacher Canadian artist Corbusier’s openground plan. ingly popularwith the riseofLe upright body—itbecameincreas cables, ventilation ducts,andthe between the underlying system of raised flooractsasa threshold success ofthe drop-ceiling. The raised floor, a response to the accident, J.H.Benton patented the year JacksonPollack diedinacar way.tionary In1956,the same of hisactionpaintingsinarevolu a meansofconveying the gravity in orderto use the horizontalityas mural paintingfrom the wall to floor like JacksonPollock brought the beneath us. presence operates silently, idling always touching the body; its sand) to “becomethe medium.” Madere’s piece(araised bedof and 0,” whichallowed for Jared between “positive andnegative, 1 acher usesthe floor asadistinction proverbial heaven andhell.Schum tive threshold between the raised floor by makingitafigura interrogated the system ofthe and HellCompare titled CroyBerlin-based gallery Nielsen ruled.” profane, andthe rulingfrom the the dirty, the sacred from the gy for separating the cleanfrom has beenauniversal technolo flooraselevated“The platform From WhoseGround Heaven

95 94 (Italy:Marsilio,2012), 6. Historically, artists that explicitly 96 - - -

- - 73 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube - - time - which and Beyond the the Beyond 97 .” 98 National Gallery, Gallery, National , what is most interesting, what is most corporeal vision corporeal space “Life is horizontal, just one is horizontal, just “Life a conveyer afterthing another, the toward belt shuffling us horizon.” corporeal Horizontality in social practice is a is a Horizontality in social practice archi from is borrowed that concept The horizontal line rep tecture. to horizon and extends the resents mapping and schematics of space Emerging body. the to in relation condition” and then goes on to say say goes on to condition” and then uncon this with engaging by that will exhibition the format, ventional physical a heightened “lead to body] that [of the awareness idea of vision the serves explore to as Duchampian the to reference of notions and use of is the exhibition about this an within only not horizontality, but also within context architectural a social context. viewers to climb one of two one of two climb to viewers above get space to ladders in the By placing these drop-ceiling. the gallery, the ladders throughout allowing is effectively CHEWDAYS exhibition the view to viewer the press clouds. In the the above from for release of an email form came in the artist between and exchange the presents CHEWDAYS curator, horizontal the that possibility that is “more exhibition of the format contemporary the to relevant panels, while other pieces prompted prompted pieces other while panels, (Berkeley: University of California Press, 1976) 13.

from jutta koether sep 28: National Gallery Press jutta koether sep 28: National Gallery Press from into the the into National National Inside the White Cube National GalleryNational The 2014. used the gallery the used floor Attitudes show Attitudes Ben Schumacher, Interview by Parker Kay, March 2-22, 2015, transcript. Interview by Parker Kay, Ben Schumacher, [Press release]:, CHEWDAYS Release. Brian O’Doherty, divides the gallery divides the into 3. Ceiling 96 97 98 exhibition required the viewer to to viewer the required exhibition facing work up at the look directly simulating the at them, down original ceiling placement of the was installed above and within the the and within above installed was at Grand drop-ceiling pre-existing in this work Some of the Century. Gallery the and earth. by Curated heaven London-based entity CHEWDAYS Czudej), (Tobias equated to heaven and hell, then and hell, then heaven to equated Grand York’s New at exhibition the Century gallery titled Hell Compare Compare Hell exhibition divide the as a means to viewing separate two space into Schumacher that experiences If the aforementioned exhibition exhibition aforementioned If the and Heaven Whose Ground From that a visitor can essentially look look can essentially a visitor that earth. of the centre the into as an architectural feature of the of the feature as an architectural gallery also using it as a while pull back curtain, the means to so Ca’ Corner della Regina in Venice, in Venice, Corner della Regina Ca’ experience. a duality of provides Schumacher floor, the By raising floor the exposes simultaneously This exhibition, similar to grafting to similar exhibition, This original the 74 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube practice in2001 from architecture asasocial a collaborative project by Nadia exhibited Gallery Art Contemporary 7, 2015,Toronto’s Power Plant text and MichaelHardt'spost-Marxist clear reference to Antonio Negri ideological ambitionsthrough a exhibition, its whilefurthering upon the philosophy ofthe original National 2:Empire Gallery London’s Lambeth neighbourhood. locationin permanent gallery Gallery mounted theto sequel November 23,2015CHEWDAYS Lambeth neighbourhood.On locationinLondon’snent gallery lery mounted the to sequel November 23,2015CHEWDAYS currently world. dominateOn the art hierarchiesvertical ofpower that display,” collapse the power ofconventional act “asameansto undermine/ towardsthis shift practice through the interest inhow alludes to intentions ofsocial between peers. of power through collaboration inorderto createartists anequality strong socialconnections between practice that nurtures an artistic line canalsoactasametaphor for Between June 20 and September inthe newly founded perma Empire 101 100 99 inthe newly founded 100 Julia Paoli,“ CHEWDAYS, local communityneeds.” governments, whilesimultaneouslycreating new horizontalassembliesdesignedtomeet macro-economic mismanagementresultedin thecollapseoffiveconsecutive millions ofpeopletakingtothestreets. Within twoweeks,thispopularresponseto particularly intheperiodafterDecember2001 whenatotaleconomiccollapseprecipitated of thestirringandenduringchangesthathave takeninplace Argentina inrecentyears, (Lisburn: The CentreforGlobalEducation,2007)43-53.“Thisarticlewillconsider some in Argentina,” Marina Sitrin,“Rupturesinimagination:Horizontalism, autogestionandaf aclearreference to the . National Gallery 99 The MouthHoldstheTongue” Press Release horizontality , the horizontal the , Policy &Practice: A DevelopmentEducationReview, Vol. 5, Autumn, from jutta koethersep28:NationalGalleryPress Release. National Gal National builds can - - exhibition —aswell asthose ofthe the roles ofallthose involved inthe structure’s capacity to render fluid power through the architectural to redistribute institutional forms of Kang, andHuston-Herterich set out close collaboration, Belerique, Sonsbeek Pavillion (1966). the AldoVan Eyck’s temporary architectural installation inspired by tion took the form ofalarge-scale aesthetic commonality. Theexhibi from an apposed to starting the collaboration to besocial,as encouraged theparameters very of social connectionto eachother were definedasagroup by their ofcollaboration but a loosehistory project whohad from three artists to commission acollaborative andpractice. Paoli’stheory gesture tality associalpractice inboth engaged with concepts ofhorizon curator JuliaPaoli. Theexhibition The Power Plant’s associate was commissionedandcurated by titled Huston-Herterich. Theproject, LaurieKang,Belerique, andLili into oneanother. — asthey beginto meldandfold andwalls thatartworks bearthem side-down,” “up also turningthe gallery “playful andfluidinteractions” while ceiling, were builtto promote installation, whichhungfrom the The Mouth Holdsthe Tongue (Toronto: The PowerPlant,2015). 102 effectively trans 101 Thewalls ofthe 2014. fective politics

- Through - - , - 75 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube

- , the , the propos Within Within 108 Oasis Canadian Art, (Italy: Marsilio, 2012), 32. (Toronto: The Power Plant, (Toronto: , http://oasisfloralproducts.com/Ideas/ market — reflecting cultural prefer cultural — reflecting market ences and traditions.” the history of art, activity of the be one of seems to walls marking human forms instinctually most the which becomes one of expression, artists’ primarythe in their victories Almásy discovered in his dried Almásy discovered swimming oasis. The figures Saharan remote in the represented Bob dissimilar from not are caves markings both and Sue-Ann; — a self-expression represent As “I’m here.” states: message that becomes a exhibition the a result, of human occasions in a record time and place. Even the for foam manufacturer floral similar have seem to exhibition, their describing by intentions a representing “local as products artwork, institution. the and + Sue-Ann”, “Bob like Messages heart circled and a love “Shhh…”, of the a few just “Dean” were were messages that dozens of surface the hand, into of carved, by walls.foam Some floral the critics, seem to Travis, such as Rebecca of significance missed the have such markings and deemed them t. be “graff to nta, of these reading an alternate carved the markings recall that that László the caves inside figures collision between the public, the the public, the between collision - - Elements of Architecture 14. Architecture Elements of -

Oasis Floral Products 104 The Art Museum of My Dreams or A Place for the Work and the Human Place for the Work A or Art Museum of My Dreams The The Mouth Holds the Tongue” Press Release Press The Mouth Holds the Tongue” horizontal (Zurich: Sternberg Press, 2013), 16. (Zurich: Sternberg The reality of this of this The reality 106 Being floral arrangements to secure Floral foam: a rigid, deformable, sponge-like plastic used in the stems of flowers. Julia Paoli, “ 2015). Falls Short,” White-Cube Subversion Rebecca. “The Power Plant’s Travis, Last Modified: July 27, 2015. http://canadianart.ca/reviews/the-power-plants-white-cube- subversion-falls-short/. “About Smithers-Oasis,” about-smithers-oasis/?parentId=3100002984. Ibid. Rem Koolhaas et all, “Ceiling,” in Remy Zaugg, is a far more conducive conducive more is a far From a theoretical a theoretical From 103 105 105 106 107 108 102 103 104 “The opaque wall is vertical.“The is opaque wall corre a verticalOnly wall verticality the of a sponds to erect, mobile human being, gaze.” a frontal with to occur.” occur.” to a physical decision was material curatorial statement, which states which states statement, curatorial artists’ “the choice of construc that evoke themselves tion materials and activity growth possibilities for standpoint the decision to use floral use floral decision to the standpoint a malleable and penetrable foam, Paoli’s with is consistent material, the institution, and the artists and the institution, the the from significantly, came, most made of floral suspended walls foam. the duration of the exhibition, the the exhibition, of the duration the horizontal of this manifestation public, the between social network It bares mention that throughout throughout mention that It bares propose a more a more propose of that than interaction to approach floor. the duties, — surface (in — and free to upright body) the with collaboration architectural gesture may seem may gesture architectural howev at first; driven aesthetically surface ceiling, an extra the er, structuralfrom oftenliberated forming the ceiling into the floor floor the ceiling into the forming This the ceiling. floor into and the 76 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube (and experience) that, whilebeing ability to cultivate anenvironment Portland-based artist-run gallery gallery artist-run Portland-based light. AppendixSpacewas a good example ofthe strategy of like AppendixProject Spaceisa age-capture. A dual-site gallery lighting for the inevitable im to itscapacityto provide even in favor of the fluorescent tubedue image, the spotlight was cast aside with the riseofthe documentation the exhibited However, artwork. attention ofthe viewer only towards spotlights inorderto focus the Historically, the White Cubeused a great dealof itsintentions. oflightinaspacecantellquality the walls, floor, orceiling.The are asindicative ofitsideologyas The lightsinsidethe White Cube reciprocity.” to degrees connectinvarying of for those navigating their space container, still allows “opportunities at oddswith itsinstitutional The Light name bulbs. spherical fruitsthat bearthe Light isprovided by certain 113 112 111 110 109

Ibid. Ibid. David Knowles,“Full Spectrum,” Jorge LuisBorges, 2015). Julia Paoli,“ 109

4. 110 The MouthHoldstheTongue” Press Release

The LibraryofBabel,

Appendix,

(Jaffrey: DavidR.Godine,2000),19. and spacesitilluminates, that authority andstability “to the objects White Cubeandendows its a lightthat usesthe power ofthe distinctly contemporary.” twenty-first century, whichis to say makes itfeel new ordistinctly ness andintensity to this lightthat c ool “hr’Space by affimnon the role oflight inAppendix power. David Knowles elaborates order to obtain itsinstitutional grammar ofthe White Cubein by adheringto the architectural an onlinefollowing fairly quickly moved to they Portland, developed founders ofAppendixSpace) Davis (original andZachary lacky institution.” and sophistication reminiscent of signs pointto a level ofseriousness were, fluorescent. ofcourse, “All a cool grey.” Thebulbs light chosen painted white, stark the cementfloor of aresidence. Thewalls [were] lit garage attachedto the rear face space doubleasa“well- The gallery from summer2008to winter 2013. and residency program that ran use oflightinginthe White Cube. the characteristics andspecific case, rather itismeantto illustrate Space isby nomeans anisolated strategy implemented by Appendix presence.” humans butantagonistic to their trable created world ofsurfaces by status — aglistening andimpene elevates architecture to post-human (Portland: ConatinerCorps, 2013),86. (Toronto: The PowerPlant, 113 111 Of course the the Ofcourse WhenJoshPav 112 It’s -

77 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube . - Key 115 corporeal , 2010) […] The art , 2010) […] st (Brescia: LINK Editions, seems to be at work be at work seems to 116 through the stream of the Lost Angeles through the stream of the Lost Post Internet financial district (320-263 Adelaide Adelaide (320-263 financial district has lever Murphy West). Street of his gallery relocation aged the to the in line with is more a space that White of the grammar architectural the increase Cube, in order to legitimacy of his perceived Robertabusiness. As a result, singular work to a viewer before before a viewer to singular work activity next the on to move they or catching post — be it a Tumblr online bus. Gene McHugh’s the stream time the this however, again; gallerywindow has decidedly borrow to act of scrolling, made the Duchamp, from a term of programming, After a year as Projects Jr. reimagined Murphy out of and moved Roberta Pelan a space into window his west-end Cube in Toronto’s small White 360 degrees, you only get 180 get only you 360 degrees, Projects.” Jr. with [degrees] influence of the understanding to on contemporary art window the is experience Murphy flattened the of The experience to. refers Projects Jr. the approaching Street at 1446 Dundas window and a reminiscent, both was West art of, viewing product online. a blog, through scrolling Similar to gallery a window is a mediated a panel of through experience a present will typically glass that because you can’t […] view it from from it […] view can’t you because en masse The The Murphy goes on to goes on to Murphy 114 Manden Murphy, Interview by Parker Kay, April 10, 2015, transcript. Interview by Parker Kay, Manden Murphy, Ibid. March 31, 2010.” Gene McHugh. “Wednesday, by the Jogging IT’S 2010, organized OR NOT “The exhibition READY 111. 2011), 2010), is an open call for collective and virally announced just one day ago (March 30, artists to post work or link to themselves right now (today – March 31 Wall Facebook Art’s County Museum of wall right now is not found in the individual posts (as occurring on the LACMA interesting as many of them are), but rather in the visibility of the stream of posts itself – the curatorial gesture by the Jogging.” 5. 114 115 116 Window sculpture.” sculpture.” of the nature “the that explain exhibition the space flattens Projects, pinpoints his interest in pinpointsProjects, his interest of a window establishment the a gallery closest “it being the to gallery a public can be to private Institute (est. 2010), and most 2010), and most (est. Institute 2014). (est. Projects Jr. recently of Jr. founder the Manden Murphy, that face onto sidewalks and sidewalks onto face that Starting city. the throughout streets Whippersnapper Gallerywith (est. Park Howard the 2004), then galleries. In Toronto alone, there alone, there In Toronto galleries. has been a significant rise in micro spaces in window located galleries windows) and photography (a and photography windows) and mirrors) medium of windows Cube has White had on the have of micro in a surge resulted (so as to not let any of the outside of the any let not (so as to that influence seep in), the world full of (a window Internet the Although the physical window has window physical the Although that as a structure been referenced Cube the White is sealed off from 78 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube works ofToronto-born, Los Pelan was accepted to exhibit the represents aspacethat functions on to the next booth. Thismodel fair beforeeasily atanart moving able to acquire works and quickly their clientele are satisfied by being tation ofexhibitions online,and ence issatisfied by the documen business whentheir massaudi a large space to legitimize their likedealers Murphy nolongerneed al gallery. Gallerists and/orart physical locationofthe profession model that isfreed from the itisaneconomic more importantly and identifytrends with speed, but viewer hastoart consumeworks the that impulse the contemporary Not only doesthis modelsatisfy orthe scroll:of the window gallery el to besimilar to the experience mod Murphy describes the art-fair Alliance (NADA) inNew York. Dealers at the 2016New Art Angeles-based painter HannaHur scrolling.” the sameas and quick, these booths; itisimmediate scroll, you are walking through was like walking through a —that whenIwas there it scrolling through Mousse Daily, Art Contemporary experience ofscrolling through —whichisthis to view art I was educated andraised to hate it,butbecauseofhow I was kindofgetting ready Frieze this past winter. And fair“I went to the Londonart 119 118 117 Manden Murphy, InterviewbyParkerKay, April 10,2015,transcript. http://moussemagazine.it http://www.contemporaryartdaily.com 119 117 118

- - -

represents theand/or artist’s design. Today, the doorway new developments inexhibition representative ofametaphor for feature ofthe White Cube,is architecturalalthough anecessary Similar to the window, the doorway, global market. gap between the individualandthe becauseofthe narrowingsurvive engage with capital andare ableto PelanRoberta aggressively galleries likeremained artist-run, Butcher Gallery, whichlargely Gallery, Preteen Gallery, and dual-site galleries like Reference galleries; however, unlike the primarily online,like the dual-site (2013), andinCelticpubs(2015), (2011), atthe LeslieStreet Spit frozen SaintLawrence River 0dx.org hasheldexhibitions onthe Ben Schumacher’s curatorial entity curatorial premise. For instance, with avariety ofa ofsites aspart the White Cube,butrather engage institutional, canonizing,walls of projects that donot seekthe the rise inindependentcuratorial irresponsible not to acknowledge of the White Cube.Itwould be curator’s desire to exit the confines Doorway 6. The 79 A CUBE HAS SIX SIDES PART 2 The Explosion of the White Cube - - In what In what 124 These self-organized These self-organized 125 non-traditional exhibition spaces exhibition non-traditional and online. created; however, “over time return “over however, created; pinned locations would the ing to yield disappointment only likely strings connecting the until only remain.” of an illustration artist are initiatives physical of the fragmentation the Cube; White the of architecture fragmentation this with however, Network comes distribution. in social, distributive, both culture, provides terms, and technological independent an access point for in both thrive to projects curatorial become visible.” visible.” become of public an exhibition to amounted artworks Toronto, around installed to and way factor, unifying only the artworks,was exhibited the find of Google Map a series through dropped pins (GPS co-ordinates) artist each location that at the and Gathered work. their installed along with on a website displayed documentation of each work, the pins be between distance the online and as comes compressed is exhibition a cohesive a result ing strings are pulled taught and and pulled taught are ing strings - - Pool House, http://www.pool-house.org/haystack/ - - . Accessed April 8, 2015. http://carrierarts.org/ABOUT.html. Accessed . In a Hay

Therefore, when Therefore, 120 In a Haystack In a Haystack Carrier Arts Ben Schumacher, Interview by Parker Kay, March 2-22, 2015, transcript. Interview by Parker Kay, Ben Schumacher, Ibid. “About.” www.pool-house.org Connor Crawford. “In a Haystack,” HaystackText.pdf. Ibid. 120 121 122 123 124 125 “explores the exhibition as a exhibition the “explores (Connor Crawford), not only go only not (Connor Crawford), Without a permanent location Without In other words, Schumacher words, In other network, moving each node further moving network, connect until the and further away how the exhibition will be dissemi exhibition the how and consumed. nated stack beyond the walls of the White Cube White of the walls the beyond of the construction but also, in the of aware are premise, curatorial an entirely blue apartmentan entirely (2015). Exhibitions like House Pool by (2015), organized 123 and Emily Waknine, Carrier Arts Waknine, and Emily in an exhibitions has installed abandoned massage parlor (2014), mini-mall unit (2015), and a vacant and established by Michael by and established Matt Sperdakos, Badour, Freeman Turner, Rose Sarah Hier, Stephanie to “re-contextualize art with “re-contextualize to in programming experimental online spaces.” public and private, 122 uses the space as a material in space as a material uses the artist-run the Similarly, sculpture. Carrier Arts project curatorial aims plant — would become partplant — would of the that object on any and reflect work environment.” that to is introduced 121 Schumacher “move[s] outside of a outside “move[s] Schumacher choice of a the gallery, commercial a chicken-packaging space — say commercial […] and the architec […] and the commercial and be homogenous to tends ture certain with congruent showroom trends.” display among other places. Schumacher places. Schumacher other among are galleries “most that explains 80 A CUBE HAS SIX SIDES 81 A CUBE HAS SIX SIDES

TOTALITY TOTALITY EXPERIENCE 82 A CUBE HAS SIX SIDES PART 1 Documentation As Art Celant’s Duchamp’s timeandspace(1942), Deleuze’s the examinationoftheorieslike emerge asanartisticmedium.Through space andcalledfortheWhiteCubeto architectural featuresofthegallery White Cubeinvitedtheevaluationof Operating assuch,theideologyof (1966) begantotransformintoanideal. (1936), Seitz(1960),andSzarkowski place byLeCorbusier(1926),Barr began tofadeaway,theideologyputin century. AstheModernistWhiteCube the twentiethandintotwenty-first a frameworkthatwouldendurethrough that O’Dohertydefinedin1976provided itisclearthattheideology condition, through thelensofaPost-Internet By tracingtheWhiteCube’shistory, double occupancy actual andv irtual (2013), (1977),

83 A CUBE HAS SIX SIDES - -

126 (February 1966) 234. Robert Morris, “Notes on Sculpture,” Artforum, no. 2 in contemporary art through what Morrisin contemporary art through called a “totality of experience.” tion — similar to that of the mural paint tion — similar to that of the collaboration ing pre-Renaissance. This rendering the indicates the importance of corporeally effects of network culture due to the flattening of the documenta due to the flattening and the tion image, the art object White Cube architectural structure of the collabora have redeveloped an intimate artistic production is clear. Furthermore, is clear. Furthermore, artistic production this investigation is the the result of of physical space through compression Largely space. digital of proliferation the the influence of the White Cube on the influence 126

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