Post #339 • August 5, 2004, 6:25 AM • 33 Comments
This exhibition consists of an unusual, short-term curatorial "intervention" using paintings from the Michaelis Collection. In this conceptual intervention, selected works will be hung "the wrong way" so that only their backs can be seen by the viewer.
Q. What is the difference between an "intervention" and an intervention?
Q. Who is intervening in what?
A. The curator is intervening in the process by which a viewer looks at a painting and enjoys it.
Q. Why are there scare quotes around "the wrong way"?
A. To try to cast doubt into the reader's mind about the correctness of hanging the paintings face-out and imply that face-in is equally valid.
Curated by Andrew Lamprecht of the Michaelis School of Fine Art, the exhibition will function on several levels. Firstly, it will operate as a contemporary "installation" that will raise questions and issues around perceptions and public expectations in a traditional "gallery" space. Secondly, it will draw attention to the important information and the deductions that can be drawn from the historical evidence found on the backs of pictures.
Q. What is the difference between an "installation" and an installation?
Q. What question might be raised by this exhibition?
A. "How much is Mr. Lamprecht paid for his pale imitation of cleverness?"
Q. Why are there scare quotes around "gallery"?
A. I have no idea.
Q. Why is the information on the back of the paintings important?
A. Because it relates to the front of the paintings, which will not be visible during the exhibition.
Q. How many is several?
A. More than three.
Old labels, inscriptions and other material have become attached to paintings over hundreds of years, providing clues to their previous ownership, origin, provenance and how they were made. Usually only of interest to specialists, the "hidden" side of a painting often has a unique story to tell.
Q. Then why not hang the paintings edge-in, or floated, so that the "unique story" can be related to the painted side of the canvas?
A. This isn't about education. It's about the fear of good art.