Artist stanley brouwn inveighed against any interpretation or documentation of his life or art, so how do you make an exhibition of his work? Writer Emeline Boehringer checks out a show at artinstitutechi that keeps viewers guessing.
So flowed a conversation between two seven-year-olds who sat next to me on a bench nestled in the Art Institute’s second-floor contemporary galleries in early May to watch stanley brouwn’s 1989 video. Their conversation was more forgiving than the intermittent grumbling in the artist’s monographic exhibition a floor below. “I guess that’s significant . . . to somebody,” commented one museumgoer to the air after circling the show’s two rooms.
in a recent review. “I could surely find out, though perhaps the more meaningful question . . . is whether I should.”, Carter described the exhibition’s curatorial secrecy as uncompromising in its defense of stanley brouwn’s intentions, “ensuring an unmitigated experience . . . between the visitor and the work.” The result is an exhibition that places a greater burden than usual on the unsuspecting public, confronted with work sans explanation.
In practice, some exhibition-goers are mystified, others are incredulous. “Too much math,” announced a zealous teenager traveling in a pack of five, after glancing at, a long length of paper with a faintly drawn line measuring out, presumably, a 10 km distance at one-to-5,000 scale. But critics are only the most vocal, and for me, the quiet exhibition allowed a hallucinatory expansiveness to accompany brouwn’s obsessive exploration of distance and notation.
Official curatorial interpretation can create positive freedom, adding to the understanding of an artwork by widening the breadth of ideas brought into dialogue—or negative freedom—restricting the imagination by imposing a “correct” reading with the backing of nebulous institutional authority.
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