And obviously, it isn't as fun as installing it. Most of it I don't really mind though - the work has been up for 9 months now and I've pretty much seen it all enough times that I'm eager to pack it up and see the new installation of the permanent collection. But, there are a few pieces that I will be sad to see go, so I'm going to do a little commemorative posting of things I particularly liked (some of which I may or may not have worked on). To start - the Richard Hughes walls. When the show was open there were three sculptures by him sitting in the space here, but they were very fragile and quickly packed up. I spent two weeks of my life helping him do these walls, along with my friends Ed Parrish and Robin Hewlett.
Richard Hughes was, well, really cool. I was going to say he was different from the other artists I worked with, but as I considered that, I realized that most of the artists I worked with were very nice, insightful, and interested in talking about the art. Richard Hughes and Richard Wright seemed genuinely concerned about what I thought of the work, and even took my advice a few times when there were moments of decision (nothing of great import...lunch decisions maybe?). Thomas Hirschhorn was fantastic about discussing the work as it was going up, and rationalizing his decisions for us. Mark Manders was great when it came to discussing his materials and how he fabricated things, as was Matthew Monahan. Mark Bradford spent a while telling me about his thought process for creating his paintings which, although I hadn't realized it in the beginning, turned out to be created especially for the show and for the space he was given. The only artists who I worked with that don't fit the above description were Barry McGee and Manfred Pernice. Barry was definitely very nice and easy to work with, but not particularly insightful - and I don't mean that in a bad way, it just didn't really come up with his art. He was mostly just really hilarious. Manfred Pernice, on the other hand, made me want to kill. I'm sure a large part of that was that he didn't speak a lot of English, but fuck him regardless.
3 comments:
hell yes telling like it is. g luck on the apps matty!
how did he do that? acrylic im assuming??
it was complicated - he actually had these sheets of plastic he painted on, and when that paint dried, we could peel it off the plastic in big floppy chunks - then, after we painted a layer of a certain color on the wall, we'd apply the bits of dried paint around it with glue, disguise the seams with joint compound, sanding and painting. so the end result looks like things falling away but it was actually a totally additive process
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