A multi-authored, online catalog of readymade objects, images, documents and ideas.
Title: Support, (iterations should be numbrered in order of production; materials and dimensions variable.)
The work can be reproduced if kept identical to the original. Instructions to produce Support: Visit any museum and look at the supports. (The Metropolitan Museum in NY has an excellent collection of supports.) Locate one support that is of interst visually. Photograph it from every possible angle. Measure it. Then reproduce it identically. Use materials that match the materials used in the original support. Paint it as it is painted in the museum display.
The most difficult aspect of reproduction is the meeting point between the object and the support as it is visually concealed by their connection. THis should be handled with as little approximation as possible. Do not make up any details, let the fabrication process guide how you resolve the points of connection. THe object should be displayed on a surface or pedestal as similar as possible to the context where you found the original.
In the museum, placed under or attached to sculptures, you can often find handmade object-specific armatures, props, stands, and leveling devices. Painted to match the artwork they support or secure, and tucked away on the least significant side of the very significant artwork, these objects are designed to disappear. If we deny the invisibility of these objects, and instead look at them closely there is a great deal to see. The supports are utilitarian, and though rarely visually perfected, they show perfectly tender consideration of the display of the objects they hold. They bear the weight of sculptures; they caress their silhouettes; they compensate for missing parts. They act like lovers, like caregivers. These supports know the artworks intimately. To look at them close with their objects provides the opportunity to know more about the objects they hold.
Looking at these supports as readymades, without their sculptures present, is a refusal and reversal of museum etiquette (etiquette would have us look at the art and ignore everything else around it), and upholds the intention of the museum as a place dedicated to seeing. My interest in looking at them this way lies in what we get to notice: the point of connection; the rupture at the point of connection; and the sense or space of the missing object. I am fascinated by how we understand absence and invisibility. These objects, which are intrinsically linked to another object, are perfect vehicles for exploring this theme. I am also compelled by the fact that looking at the supports as readymades forces consideration of the unnamed unknown invisible maker of the support. This ties the metaphoric contemplation of invisibility offered by looking at the support object as art, to the practical contemplation of invisibility offered by thinking about the human maker/worker.