As part of his Fall 2009 installation in the SCI-Arc Gallery, Joe Day hosts a discussion with photographer Josh Melnick, and nonprofit art space director Lauri Firstenberg. Melnick discusses the New York subway portrait photographs he contributed to the SCI-Arc installation, and their display, which he also designed. Firstenberg, Melnick and Day debate the “functions and dysfunctions of the white cube and black box.” Melnick talks about his current project, Chair Work which he sees as “moving much more into a social practice.” Day comments about Melnick’s framing of subjects and its connection to reflecting, mirroring emotion.
Video Archive | Joe Day (5)
Eric Owen Moss begins the discussion by proposing a summary of Joe Day’s intentions, and wondering how else he might have realized them. They discuss the title “Blow X Blow” in terms of linguistics and narrative. Day states his interest in reprogramming the space by combining form and new new media art. Day defends the right of people to project their meanings upon the installation, and his freedom to develop a formal logic without any function. This leads to a discussion of the built form of the installation, contrasted with the projected imagery. Moss questions Day on his choice of material, and the two discuss the role of color in the space. Day relates the controlling of a point of view in a cinema to that of a museum and prison, as illustrated by the diagrammatic work displayed on the walls, “Collections and Corrections.” This leads to a discussion of Jean-Paul Sartre’s argument that only prisoners enjoy the ultimate freedom from all responsibilities. They conclude by addressing the idea of scripting, both as a cinematographic tactic and a design tool utilized in the organization of “Blow X Blow.”
A panel consisting of Howard Fox, Ming Fung, Brooke Hodge, Coy Howard, and Ingalill Wahlroos-Ritter engage in a discussion questioning the museum’s role in contemporary culture. They discuss how cultural institutions succeed and fail, as well as specific questions of typology, program, materials, and light. With Joe Day they discuss the Los Angeles County Museum of Arts competition, and why the Rem Koolhaas entry didn’t win. The panelists end with remarks on the future of the museum in the era of the Internet.
Joe Day introduces a panel discussion on Gordon’s Matta-Clark the day after Jane Crawford’s lecture at SCI-Arc on her late husband’s work. Joe Day, Gary Paige, Mary-Ann Ray, and Richard Kelly briefly presented some their own work in relation to Matta-Clark. The presentations were followed by a 50 minute discussion led by Coy Howard and Michele Saee.
Joe Day speaks to a SCI-Arc English as a Second Language class about his research into the architecture of prisons. Comparing prison to museum design, he argues that both building types deal with many of the same architectural issues. He compares John Soane’s Dulwich Museum, George Dance’s Newgate Prison and ?tienne-Louis Boull?e’s Palace of Justice, and the idea that institutional buildings like museums and prison’s should have a presence in the city. Comparing Frank Lloyd Wright’s Guggenheim Museum in New York to Jeremy Bentham’s Penopticon prison design, it becomes apparent how these two similarly configured buildings address issues related to circulation, lighting, storage, and display.