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The Whys of Deinstitutionalization
I wish that I could say that Franklin Furnace's evolution from
an avant-garde presenter to a virtual institution was a conscious,
planned and steady process, but it was not. Moments of clarity appeared
through the fog, and we're still in a groping phase, checking with
various parts of our community for feedback and adjusting our path
accordingly.
A Fast History of Franklin Furnace
It all started in 1976, when the fog cleared and I saw that major
institutions were not accommodating works of art being published
by artists, and decided to gather, exhibit, and sell, preserve and
proselytize on behalf of the form that came to be known as "artists'
books." I opened Franklin Furnace Archive, Inc. in my living loft
(which happened to be a storefront) on April 3rd, 1976. Soon after,
Printed Matter, Inc. came into being to publish and distribute artists'
books; we reapportioned the pie, Franklin Furnace taking the not-for-profit
activities of collecting, cataloging, preserving, exhibiting and
related activities like artists' readings, the activity that evolved
in turn into the performance art program. Printed Matter published
and sold artists' books as a for-profit corporation, (and later
sought and received not-for-profit status too).
Franklin Furnace's presentation of temporary installation work
and what became to be known as performance art started right from
the get go. The artists who were publishing artists' books were
the same ones who considered the text to be a visual medium (Jenny
Holzer and Barbara Kruger come to mind). Martine Aballea, whose
book was in Franklin Furnace's collection asked if she could read
it in our storefront in June 1976. When she showed up in costume,
her own lamp and stool, the performance art program was born. Although
I called it Artists Readings in the beginning, every artist chose
to manipulate the performance elements of text, image and time,
from a very simple 1977 performance by Robert Wilson of the word
"there" repeated 144 times with a chair on stage, to the rather
messy 1983 performance of Karen Finley taking a bath in a suitcase
and making love to a chair with Wesson oil.
Franklin Furnace's niche became the bottom of the food chain, premiering
artists in New York who later emerged as artworld stars: Ida Applebroog,
Eric Bogosian, David Cale, Guillermo Gomez-Peņa, Ann Hamilton, Theodora
Skipitares, Michael Smith, Annie Sprinkle, Krzystof Wodiczko, Paul
Zaloom, and hundreds of others.
Around 1980, I perceived another vacuum in the art world. No one
seemed to be researching the history of the contemporary artist
book in any thorough-going manner, so I tried to do it in a year,
hiring four guest curator teams to tackle four 20th century time
periods of The Page as Alternative Space. Clive Phillpot
organized material for 1909 to 1920; Charles Henri Ford from 1921
to 1949; Barbara Moore and Jon Hendricks from 1950 to 1969; and
Ingrid Sischy and Richard Flood from 1970 to 1980. After this heady
year, Franklin Furnace hired a slew of guest curators to explore
the history of the published artwork in even more depth, organizing
usually one big exhibit per season such as Cubist Prints/Cubists
Books, The Avant-Garde Book: 1900-45, Fluxus: A Conceptual Country,
Books by Russian Avant-Garde Artists, as well as thematic shows
such as Artists' Books: Japan, Multiples by Latin American Artists,
Contemporary Russian Samizdat, Eastern European Artist Books.
Taken together, the magazines and catalogues published to document
these exhibits form a history that is still not available under
one cover.
Although we had been reprimanded by Hugh Southern, Deputy Chairman
of the National Endowment for the Arts and Benny Andrews, Director
of the Visual Arts Program for our exhibition entitled Carnival
Knowledge, the conservative tide in this country was not strong
enough in 1984 to be taken seriously. 1990 was a fateful year, however.
In this year, the Democratic Governor of New York State, Mario Cuomo,
cut the NYSCA budget in half, decimating support of Franklin Furnace
to the tune of $100,000 from one year to the next; and Franklin
Furnace exhibited an installation by Karen Finley entitled A
Woman's Life Isn't Worth Much. This in itself was not a crime,
but by May of 1990 she had already been branded "the chocolate-smeared
young woman" by columnists Evans and Novak and conservative forces
in Washington had gained much credibility and momentum. Following
Karen's exhibition, Franklin Furnace was turned in to the New York
City Fire Department as an "illegal social club," closing the performance
space; and our program and financial records were audited by the
General Accounting Office, the National Endowment for the Arts,
the Internal Revenue Service, and the New York State Comptroller.
Clarity started to be visible through the fog. The cost of cataloguing
and conserving Franklin Furnace's collection of artists' books published
internationally after 1960, by this time the largest in the United
States, was going up; but the public support of small arts institutions,
especially those that chose to exhibit "difficult" art, was going
down. Further, the beautiful, 19th-century Italianate loft in which
Franklin Furnace was living was made of wood, while its collection
was made of paper. Lastly, we did not own the building, so bringing
the space up to code for performances and installing climate control
equipment for the maintenance of the collection did not add up financially.
Also the landlord was suing us to get us to vacate so he could sell
the building. In the Fall of 1990, I made the decision to mount
Franklin Furnace's performance program "in exile," in other institutions'
spaces around town such as Judson Memorial Church, Cooper Union,
The New School, P.S. 122, Dixon Place, the Kitchen, NYU. And then
on Halloween of 1990, the landlord dropped dead, and his daughter
offered the artists who occupied 112 Franklin Street the opportunity
to buy the building.
Ideas were forming in the aftermath of the events of 1990. One
was to place the collection of artist's books in the embrace of
a larger institution that would value it, and continue to catalogue,
exhibit, lend and enlarge its scope. The Board made inquires at
a few select institutions, including the Walker, the Guggenheim,
and MOMA. But it was really Clive Phillpot's resolve to acquire
Franklin Furnace's collection for the MOMA library that made this
deal happen in 1993. The terms that were important to us were that
Franklin Furnace's name would remain on the Museum of Modern Art/Franklin
Furnace/Artist Book Collection; and that its collection policy would
be open to any artist who claimed, "this is a book." It remains
the only uncurated collection at MOMA. We believe that this year,
the collection will become accessible through Franklin Furnace's
website so artists may look up their works to see how they are catalogued.
The other idea that galvanized the Board was that we should raise
the money to make the down payment on purchasing Franklin Furnace's
loft, and eventually bring the "c" copies of the artist book collection
home to be handled casually, get coffee stained and read, as the
artists intended; and to bring the performance art program home
as well. In short, our idea was to renovate Franklin Furnace's loft
into a downtown art emporium. After a Summer long search in 1994,
we hired Bernard Tschumi to prepare a physically and visually accessible
design that was still sensitive to the historic nature of the building
and the neighborhood. And we hired a Capital Campaign Consultant
to help us raise the $500,000 it was going to cost to make the design
a reality.
During the 1994-95 season, four separate donors asked us, "Have
you been to the American Center in Paris?" Here is an institution
that sold its Beaux Arts building downtown to build a Frank Gehry
building on the outskirts of Paris--and ran out of money to mount
its program. The fog cleared in the Summer of 1995 when, sitting
in my sister's kitchen staring at Mount Rainier, I realized that
Franklin Furnace would never be remembered for its blonde oak floors,
but rather for its program--and I was raising half a million dollars
for the wrong purpose. Omigod.
In September of 1995, I took a radical concept to my Board: I wanted
to sell the darn building, and concentrate the program on broadcasting
artists' ideas. This was not really dissimilar from the original
purpose publishing itself served in 1910 when the Italian Futurists
threw 800,000 manifestoes berating past-loving Venice onto the heads
of folks emerging from church. Except now there were all sorts of
new ways to broadcast artists' ideas including broadcast and cable
television, and the Internet. They really went for it, especially
the plan to get performance artists on broadcast television, which
I ultimately failed to accomplish; more on the vertigo that accompanied
this decision later.
1996 was another fateful year. By the time we had made some decisions
that changed the path of the organization's history:
1. We collectively pledged to look beyond artist development, our
focus for 20 years, toward audience development. Could we cultivate
a broad audience for the consumption of avant-garde art by utilizing
electronic delivery media?
2. We decided to sell the loft, a step which would separate us
from real-estate based presentation activity and commit us to an
unknown course with rapidly evolving technology.
3. We embarked on a multi-year project to electronically catalogue,
digitize and build a relational database of our program files from
1976 to 1996. My dream for Avant-Garde New York, the working title
of this project, is to keep going after we have completed bringing
our own history on line, to make accessible the archives of Fashion
Moda, Minor Injury, JAM Gallery, the Collective for Living Cinema,
ABC No Rio -- small, but important centers for avant-garde art activity
now out of business-- to make the "unwritten history of American
art," as Jeanette Ingbermann, Co-Director of Exit Art calls it,
accessible to both scholars and aficionados. This is not something
I think I can do on my own. So I am trolling now for a an institution
affiliation that would give Franklin Furnace the stable context
necessary to raise the kind of money this project will require.
Well, a girl can dream.
But back to the whys and hows of deinstitutionalization: Altogether,
Franklin Furnace got in trouble four times with the forces of darkness
in Congress and among the conservative Christian right. Most recently,
in September, 1996, the Christian Action Network mounted a performance
art spectacular on the steps of the Capitol Building to protest
the $132,000 in federal dollars (not true) we were spending on our
Voyeur's Delight exhibition, and to call for the death
of the NEA. Their press release linked us with the virus eating
away at the health of the body politic, and the performance included
two coffins and a guy dressed up as the Grim Reaper. (I think it
says something when the Christian conservatives recognize the power
of performance art tactics in getting their point across.) But this
time, Franklin Furnace was building its website as its public face,
so I decided to put up a page called U-B-D-Judge, to collect public
comment, both positive and negative, regarding the works in exhibition.
We reprinted CAN's press release in its entirety, and ours; and
asked permission of the artists to publish their work on our site,
each piece accompanied by the artist's statement explaining why
Jocelyn Taylor had a speculum up her vagina, for example. Sure enough,
this page has generated both positive and negative comment, intelligent
and stupid comment, all of it I believe valid and important to the
discourse that surrounds and emanates from contemporary art.
In 1996-97, I mounted a pair of 20th Anniversary exhibitions to
go out of the physical space with a bang: Voyeur's Delight,
organized by Barbara Rusin and Grace Roselli examined the power
of looking; and In the Flow: Alternative Authoring Strategies,
traced the evolution during the last two decades of art as flowing
information rather than property, including works by the Thing,
X Art Foundation, Guerrilla Girls, Frank Gillette and David Ross,
Sol LeWitt, Louise Lawler, Group Material and others. On February
1, 1997 this exhibition closed, and Franklin Furnace's website was
launched as the institution's public face.
Also during the fateful year of 1996 I developed a pilot tape to
show to cable and broadcast television producers in what turned
out to be a futile effort to get performance artists on television.
It was called Untitled, and it showed a wide array of artists'
approaches to the subject of sex -- since the commonly-held belief
is that that's all we think about anyway, I wanted to show approaches
that were humorous, despairing, scary, satirical of corporate exploitation
-- a wide range of approach. Some members of my board felt this
represented a tactical error, and that I would ever succeed in catching
the interest of TV execs. And indeed, after meeting with Lorne Michaels,
Tom Freston, Eileen Katz, Mary Salter, Susan Wittenberg, Sue West
and a bunch more executive types, it became clear to met that broadcast
and cable television represent an entrenched industry, one that
has become highly regulated, developing "standards of conduct" and
clear taboos in order to continue to blast content directly into
our homes.
Meanwhile, I was being courted by Internet-based broadcast companies.
Sensory Networks, Thinking Pictures, Pseudo Programs -- these start-up
companies were broadcasting over the net from facilities such as
clubs, a gorgeous blue-screen studio, a funky loft in Soho. At first,
I was put off by the tiny, jerky image and the cramped, smoke-filled
facilities that Sensory Networks was proposing to use to mount a
performance art program. I wanted the gorgeous studio that Thinking
Pictures had built on West 16th Street, and entered a long conversation
with their principals that would have included asking Laurie Anderson
to kick off our virtual performance program. But on September 19,
1997 our deal crashed and burned over the issue of money: Thinking
Pictures wanted $4,000 for each use of their studio -- that was
before I paid my artist fees, staff and publicity costs. So I went
hat in hand back to Galinsky at Pseudo Programs. Galinsky had proposed
a performance program in collaboration with Franklin Furnace during
the Summer of 1997, but I blew it off because their studio was not
capacious, nor set up for visual artists -- Josh Harris, the founder
of Pseudo, had established it as a radio network first, and was
luckily at the same moment (Fall, 1997) preparing to become the
largest producer of television-style broadcast over the Internet.
Further, these guys wanted MORE Annie Sprinkle. They were not only
not afraid of the tendency of artists to get naked, they embraced
the challenging stuff wholeheartedly.
The last year has not been particularly pleasant for me, the chief
executive officer of Franklin Furnace. When the ink dried on the
contract selling Franklin Furnace's loft in September, 1997, the
Board went into a paroxysm of doubt about what a virtual institution
was, what its programs should be and for whom, so we entered a soul-searching
process that included a series of town meetings with artist and
others within and without the artworld; and I commenced an itinerary
of travel and research, attending important conferences such as
Silicon Alley 98, Circuits@nys, and this one, and commenced to travel
to meet and talk, to re-evaluate and re-imagine Franklin Furnace's
role as an "alternative space" at the end of this century. now almost
a year into the process, I'm pretty happy with how Franklin Furnace
has managed to become Janus metaphorically -- the Roman god of passageways
and patron of new beginnings -- who is represented as having two
faces, one looking forward and one back. During these last three
years, Franklin Furnace has developed ways to maintain its role
in the contemporary artworld as an organization which both fosters
the art of the future and archivally cares for its past.
Now Michael Katchen,
Senior Archivist of Franklin Furnace, will go into detail in describing
Avant-Garde New York, 1976-1996.
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Franklin Furnace Archive, Inc.
45 John Street Room 611
NYC, NY. 10038-3706
Tel: (212) 766-2606
Fax: (212) 766-2740
Email: ffurnace@interport.net
URL: www.franklinfurnace.org
Martha Wilson, Founding Director
Michael Katchen, Senior Archivist
Harley Spiller, Administrative and Intern Coordinator
Alice Wu, Program Coordinator
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Last modified: May 13, 1998. This file can be found below http://www.archimuse.com/mw98/
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