As
an MLIS (Master of Library & Information Science) graduate student interning in the Mattress Factory Archives, I have a
unique opportunity to work with records, documents, and photographs, which tell
the story of the museum and the artworks created over the museum’s 35-year
history. There are many amazing relics in the MF archives and I help preserve
and provide access to this material for students, researchers, and artists. One
of my favorite collections is a group of images of John Cage’s 1991 changing installation, an artwork
exhibited as part of the 1991 Carnegie International. While cataloging,
digitizing, and organizing these photos, I noticed an unexpected surprise that
exemplifies the serendipitous magic that so often happens with artists working
at the Mattress Factory.
 |
| Day 73 of changing installation |
 |
| One of the poems included within the installation instructions for changing installation |
Most
well known for his musical compositions, John Cage (1912-1992) also expressed
himself as a poet, artist, and writer. In changing
installation, 1991, Cage combines the use of two-dimensional works with
poetry, all while maintaining an exploration of concepts surrounding
randomness. The concepts of randomness and chance are frequently woven into
Cage’s musical compositions, such as Music
of Changes (1951) and the 85-part series, Music for Piano (1952-1962). For more about John Cage’s work, check
out the John Cage Trust.
Based
on the concept of “controlled randomness,” changing
installation consists of two-dimensional works by artists Dove Bradshaw,
Mary Jean Kenton, John Cage and Marsha Skinner, along with six chairs that rotate
around the exhibition space in an order determined by a computer algorithm.[1]
The six chairs are: one Bertoia Side Chair, one 1940s aluminum lawn chair, one
Arne Jacobson Egg Chair, one chair made from sticks, one Empire chair, and one
steel chair made by a steelworker. John Cage hoped to present randomness (in
this case, the computer generated numbers), in a controlled and orderly way
(through the use of clear and precise installation instructions). The
installation was on view for 102 days and each day the chairs and artworks were
rearranged based on placements outlined by the computer algorithm. Museum
Co-Director Michael Olijnyk photographed the installation each day from a
vantage point identified by the computer algorithm.
 |
|
Wall
Label for changing installation, 1991.
Each artist provided 12 works to be used within the installation. The works each
have an assigned number and a combination of 15 works was shown every day.
|
 |
| The entire fourth floor of 500 Sampsonia Way was divided into distinct locations for changing installation. Cage gave each corner of the gallery a unique number ranging from 1-64. |
 |
| Based on the computer algorithm, John Cage’s script lists the works to be displayed each day, their location, their display angle, and the placement of the camera. Here, this script page indicates the works to be shown and their location within the gallery for the first twenty days. For example, on day 1, work 5 is shown in position 30. |
Each
morning Museum Co-Director Michael Olijinyk took “down the works from the
previous day, put in place the new arrangement of chairs and artwork” and “photograph[ed]
the space.” During this process, his pet cat, Godzik, would follow him around
the gallery. In some photographs, Godzik placed himself directly in the center
of the installation (and image), and in others, he appears as a blur or a
reflection. Rather than retaking the day’s image, Michael Olijinyk noted that
the cat’s appearance was “in complete accord with
Cage’s concept of incorporating random sounds and occurrences into his work.”[2]
All in all, Godzik can be seen in 17 photographs and is a surprising addition
to an exhibition already based heavily on randomness.
Check out the
images below—can you find Godzik in each one? (Click the image to enlarge)
 |
| Day 14 of changing installation |
 |
| Day 25 of changing installation |
 |
| Day 26 of changing installation |
 |
| Day 30 of changing installation |
 |
| Day 31 of changing installation |
 |
| Day 58 of changing installation |
 |
| Day 95 of changing installation |
As you can see, through my
internship at the Mattress Factory Archives, I have the chance to work with
some fantastic collections and amazing artwork. The museum is made up of a
multitude of moving parts, and as I continue to explore its history, I’ll gather
more interesting stories to share!
Bibliography:
Bernstein,
David W., and Christopher Hatch (eds.). Writings
Though John
Cage’s Music, Poetry,
& Art. Chicago:
University of Chicago Press, 2000.
Mattress
Factory. “John Cage.”
Mattress
Factory Education Department. “Mattress Factory’s Permanent
Collection Curriculum Guide.” Last Modified 2009.
Olijnyk,
Michael, Barbara Luderowski, and Claudia Giannini. Installations:
Mattress Factory,
1990-1999.
Pittsburgh: University of Pittsburgh Press, 2001.
[1] David W. Bernstein and Christopher Hatch (eds.), Writings Though John Cage’s Music, Poetry, & Art (Chicago:
University of Chicago Press, 2000): 5.
[2] Mattress
Factory Education Department, “Mattress Factory’s Permanent Collection
Curriculum Guide,” last modified 2009, http://www.mattress.org/documents/2009_curriculumguide_web.pdf.
No comments:
Post a Comment