los-angeles

Stephen Prina, The Second Sentence of Everything I Read Is You: Mourning Sex, 2005–2007, mixed media. Installation view. From “Take It or Leave It: Institution, Image, Ideology.”

“Take It or Leave It: Institution, Image, Ideology”

Hammer Museum

Stephen Prina, The Second Sentence of Everything I Read Is You: Mourning Sex, 2005–2007, mixed media. Installation view. From “Take It or Leave It: Institution, Image, Ideology.”

The work of Andrea Fraser held a privileged position within Anne Ellegood and Johanna Burton’s ambitious survey of appropriation and institutional-critique practices from the 1970s to the present. The first gallery featured Fraser’s performance video Museum Highlights: A Gallery Talk, 1989, in which the artist, posing as a docent, offers a tour of the Philadelphia Museum of Art that draws attention to the imbrications of aesthetic forms and class relations manifest in the institution’s architecture and displays via a script composed of appropriated texts. Hectoring the show throughout was an expanded version of her Notes on the Margin, 1990/2013, comprising thirteen wall texts of censorious language borrowed from US legislators in the debates over public arts funding during the culture wars of the 1980s and ’90s. And finally, Official Welcome, 2001–2003—a video of a speech

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