for free

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a lounge set up at the exit of a retrospective. catalogues of the show become the art. a total synthesis of art, design and commerce.

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wine, prosecco, mineral water, assorted cheeses, cured meats, baguettes, assorted fruit, glassware, wine opener, cheese knives, museum vitrine / this was a "live" sculpture made for the opening of an (ill fated) ICA show....Please / Thank You. it represents the ideal version of the cliche wine and cheese spread that were (and maybe still are) offered at art openings. the actual spread that night consisted of a metal bowl with trail mix, cheap wine on a fold out table with a plastic table cloth. as with everything the ideal often remains unapproachable and unobtainable.

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the coins we toss into a wishing well disappear into a netherworld filled with dreams. this piece exposes that diversion but there’s no payoff in the transparency. the bucket filled with coins is much more matter-of-fact and far less poetic then the wishes we make

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these paintings were briefly the most expensive painting ever sold at action

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a seemingly endless amount of artwork is continually being produced. the vast majority of it is never seen and is stored in flat files, homemade painting racks, professional storage facilities (that often resemble prisons) and digital systems. imagine for a moment if 100% of all the man-made images and objects ever made were archived, permanently! thus halting the culture making/viewing treadmill. freedom from the tyranny of production and the tyranny of having/wanting to look.

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a play on spacial perception, expectation and populism; by referencing the worlds most popular museum attraction; this graphic helps circumvents time and space so you can have the ultimate art experience anywhere, anytime.

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photos of painting gallery walls 

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 free stickers for everyone to attach to anything they wish, thus making that the official souvenir of any experience. 

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after a badly received show or a change in the prevailing winds of taste, an artist may wait for years for another chance to show in a gallery. the opportunity to show again can be filled with excitement, hope, loathing and desperation.

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The shift of museums from a primarily educational venue to an entertainment experience is clear. when the scalpers show up you'll know the transformation was a success!

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id tag for non profit artists (not by design) to be worn at art functions. it’s important to make sure ones role is clearly defined

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"Of the two artists represented here, one is right for no reason at all and the other is wrong for all the right reasons. All too often we define ourselves by the artists at their disingenuous best instead of by their deceitful worst."

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Robert Rauschenberg, White Painting [three panel], 1951, done in tiffany blue 

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artist panel discussion / art and the pursuit of art can't be quantified or entirely known. especially by an excruciatingly academic analysis.

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a popular fundraising techniques of many art galleries and institutions. the outcome for most is that they end up paying for the experience of being rejected.

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available in assorted sizes

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which is worse? one is sudden, cathartic and cleansing. the other is myopic, plodding and mind-numbing.

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"Big box art galleries aren't necessarily cheaper for art. Certainly not cheaper if you have to buy so much that it becomes boring before you can look at it all."

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featured artwork / by being totally self-referential this piece eliminates the need for critique. perfect!

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aspenite remake of an ellsworth kelly painting

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sign, sign stand, theatrical spot lights with colored gels. the colored light and sign stand fuse together to create a space within a space. somewhat out of time and place. a space of fleeting yet endless expectation. the possibilities always seem better then the reality that comes soon enough.

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a major art institution, oversized sign. everyone thinks it but few say it as directly as this unvarnished plea does.

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this references the endless amount of imitative art (in this case gerhard richter) that’s made, knowingly supported, exhibited and sold.

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photo of a gallery wall in the original (circa 1939) museum of modern art nyc. the continued fetishization of MOMA as a holy site. 

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Dr. Albert C. Barnes

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Clement Greenberg

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"The man walked down to his local newstand and picked up a copy of Artforum. As he completed his purchase, the woman behind the counter asked with great concern and complete sincerity “Wouldn’t you like me to put that in a paper bag for you?”.I guess indecency is largely subjective."

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