http://www.nytimes.com/2012/03/02/arts/design/juan-downey-the-invisible-architect-at-bronx-museum.html?_r=1&ref=design

Sculptures That Answer Back
‘Juan Downey: The Invisible Architect’ at Bronx Museum

By MARTHA SCHWENDENER
Published: March 1, 2012

"And here you can see the other reason, besides the dearth of photo ops, that 
Mr. Downey has gotten short shrift in art history: museums do not know how to 
exhibit video. The installation of Mr. Downey’s mature works in the current 
show qualifies as a crime against art, since several of them are set up so 
closely in the back gallery that the audio tracks literally interrupt and 
cancel each other out. The effect would be comic — the ultimate version of 
exhibition design as postmodern pastiche — if it weren’t so depressing. This, 
after all, is the first major survey of Mr. Downey’s work in this country, and 
to see it mishandled this way is yet another testament to how video, more than 
40 years into its life as an art medium, is still treated like the unwanted 
stepchild of contemporary art."


Insisting that the work be shown effectively is a part of making it work.

-- Sandy Maliga


On Mar 6, 2012, at 4:53 AM, Shelly Silver wrote:

> gallery representation is the key
> 
> On Mar 5, 2012, at 11:41 PM, John Woods wrote:
> 
>> >Balsom rightly points out that in the museum world there is a double 
>> >standard “whereby experimental film-makers are treated with less respect 
>> >than ‘artists working in film’ – such as Tacita >Dean, Stan Douglas or 
>> >Matthew Buckingham – whose work is never subject to such transpositions.”  
>> >She goes on to say that “recent exhibition practices have demonstrated the 
>> >persistent
>> 
>> And what was it that put the work of these people into their vaunted status 
>> in the museum world? Gallery representation? Art school cred? Press 
>> manipulation (publicity stunts, etc.)? Is that what a filmmaker needs to do 
>> to be taken seriously? I guess that seems to mostly work for Hollywood.
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