Scenes from a Museum

Museum as Muse: Artists Reflect organized by Kynaston Museum of Modern Art, New York, New York March 14-June 1, 1999 Museum of Contemporary Art, San Diego La Jolla, California September 26, 1999-January 9, 2000 Reina Sofia, Madrid, Spain March 14-May 29, 2000 Museum as Muse: Artists Reflect by Kynaston New York: Museum of Modern Art, 1999 296 pp./$50.00 (hb), $24.95 (sb). Website: www.moma.org/exhibitions/muse, with links to on-line artists' projects by Allan McCollum and Fred Wilson The Museum as Muse: Artists Reflect, organized by Kynaston McShine, Senior Curator for the Museum of Modern Art (MoMA) in New York City, contains nearly 200 works by more than 60 artists, with an emphasis on American and European post-war work. exhibition includes photographs of museums (e.g, by Zoe Leonard and Vik Muniz), personal museums by artists (e.g., by Joseph Cornell and Susan Hiller), work on exhibitionary and archival strategies (e.g., by Marcel Broadthaers and Mark Dion), appropriative uses of museological material (e.g., by Marcel Duchamp) and analyses of museum ideologies (e.g., by Andrea Fraser and Hans Haacke). works vary in their degree of involvement with the idea of the museum. Some include only an incidental reference to, a museum environment or a museum-related concept, while others employ a museological frame of reference as the crux of the work. According to the brochure, the exhibition is divided into five categories: Photographs: Object and the Museum in Use; Artist-Collectors and the Personal Museum: Natural History Collections: Questioning Modes of Classification; Museum Practices and Policies; and Museum Transformed. These headings, however, are not directly transposed on the exhibition space itself - a curatorial decision that leaves the exhibition space undivided and, apart from wall labels, text-free. While the act of museological categorization is precisely what some of the work critiques, the absence of contextualization in the exhibition unfortunately leaves the question of how these works are changed by their placement in and their relation to MoMA unexamined. Though the volume of the included material provides MoMA with an excellent opportunity for curatorial indulgence, The Museum as Muse evades an acknowledged critique of how museums both inspire and shape the work that they display. Scattered throughout The Museum as Muse is an abundance of work about MoMA itself. Kate Ericson and Mel Ziegler's MoMA Whites (1990) presents the custom wall paint preferred by various MoMA curators alongside standard manufactured whites. Each sample has been poured into a glass jar onto which the exact name of each color is etched. By juxtaposing the hues of that constitute the white walls of the MoMA galleries, Ericson and Ziegler demonstrate how galleries are marked by the preferences of their curators. McShine White, for example, differs noticeably in hue from Rubin White, Riva White and the standard Decorator White. Thomas Struth's Cibachrome print Museum of Modern Art 1, New York (1994) depicts museum visitors in front of a Jackson Pollock painting. By using long exposures that foreground yet blur the visitors, Struth's photograph encompasses the viewers' relationship to the painting unlike a reproduction or installation shot where the painting alone would command the field of vision. Komar and Melamid's Scenes from the Future: Museum of Modern Art (1983-84) portrays MoMA in ruins, sprawling in the middle of a pastoral landscape. Referencing Romantic paintings of ruins in pastoral settings, the sight of the modern MoMA becoming a fragment of classical architecture nonchalantly places the museum into a trajectory of history in which its role may only be transitory. Of the works prepared specifically for this exhibition, Janet Cardiff's MoMA Walk (1999) takes visitors on a semi-nostalgic audio tour of MoMA's permanent collection galleries located outside the parameters of The Museum as Muse to reflect on the museum as a location of perception. …