Exhibit or mirage?
We interrupt the summer doldrums with news that “controversial graffiti artist” Mat Benote has surreptitiously installed one of his own works in the Guggenheim Museum. This cheeky guerilla action raises anew questions about authority and power in the art world.
Benote apparently hung up his work—a kind of Russian Avant-Garde-ish abstract composition, in black and red, accompanied by a wall label—during normal business hours, unnoticed by Guggenheim security guards or patrons. The press release somewhat hyperbolically claimed, “a piece of art was added to the museum’s permanent collection in the form of a gift by the artist.”
Really? Much like the Grand Rapids ArtPrize discussed in an earlier ArtworldSalon post, the intervention brings up some interesting concerns. If a work is hung on the wall of a museum, without the sanction of curators, is it to be considered part of the museum’s art program? Can anyone bring in a picture, hang it on the wall, and thus confer upon it the status of museum piece? If so, are then random objects in visitors’ handbags also properly seen as part of the museum’s temporary exhibition programming? By extension, are the visitors themselves to be considered a kind of accidental social sculpture, by virtue of performing their pattern of human interactions inside the symbolically charged confines of the museum? Or will these visitors have to be labeled an artwork, by someone such as Benote, to be so considered?
Questions also run in the opposite direction: If an artwork looks like a run-of-he mill abstract composition, neatly applied on a two dimensional surface, installed like a precious painting inside a top-flight museum, with a wall label, is it still “graffiti”?
Perhaps the most fun question for this Salon may be: What were the Guggenheim’s esteemed curators supposed to do? Lemonade, anyone?