Selected Entries for Dr. Nicky Byrd

Selected Entry: 21

Where does the Artist Stop and the Patron Start?

Much of Nicky’s work is about inclusion, and about the infusion of art and participant. Collaboration was important to her, and, more importantly, to her work. I wanted to see if there were any other artists that were as inclusive in their work. I found Roman Ondak. At MoMA PS1 performace occurred where every art patron was asked to stand with their backs against the wall, they measured their height and wrote down their name and the date on the wall next to the line than indicated how tall they were.

It was called “Measuring the Universe” , which, according to Ondak, he is not able to measure without his patrons.

What does it mean to be this inclusive in art? How does performance change a space? To me, on a personal level, performance art has an essence of magic that I can’t readily find in other art. Is it the brevity of the piece? Is it that I am completely aware of the fact that it can never be re-performed? Is it because I am involved?

Selected Entry: 22

Cattelan’s Gift

I’m in love with Maurizio Cattelan. I have been waiting for a long time to talk about him, but it appears that his exhibition for the Museum Fur Moderne Kunst is a very worth subject to discuss in lieu of Nicky’s lecture.

Since 2007 Cattelan has been making monthly visits to the museum and adding a piece of work around/on/behind/inside/over the museum. As of this January, he has finished making work… so it is fair to say the work is now completed. But the idea that Cattelan would return back to a place, almost like a pilgrimage, is a response to Nicky’s work; returning back to a place, and making something of it. There is a permanent mark being made on the museum. The museum must respond to, it in a way. I feel that it is not the nature of museums to respond, only to facilitate. But Cattelan, in his clever way, is making things that cannot speak, speak.