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Transcription: [00:00:00]
{SPEAKER name="Michael Asher"}
Well, all I'm saying the artist, the architect has done, has designed a space for one intention.
[00:00:10]
And the artist comes, many lat.. years, perhaps many years later on and imposes his space,
[00:00:22]
a differing space without considering the architect. Without considering the architects intent, the function of the museum, the architecture, everything, ah, for his own personal statement,
[00:00:39]
which has nothing to do with the building. So that it's not an economy of means, so much, as it is keeping a dialectical sort of situation always constant with the building,
[00:00:54]
understanding the institutional, institutional reality along with the artist's production. Um, congruent all the time.
[00:01:05]


{SPEAKER name="Jan Butterfield"}
Because a lot of artists who do that, do that under the aegis of understanding and paying attention to the site. Which by your implication they really aren't doing...
[00:01:15]


{SPEAKER name="Michael Asher"}
They are not doing it at all. Yeah, they are not doing it at all.
[00:01:18]


{SPEAKER name="Jan Butterfield"}
Well, then you have to ca... Yeah, it's interesting. There is, it is a morality issue.
[00:01:25]
Ah, if... Well, there's 2 issues. If the things that we were talking about earlier which have to do with the fact of the integrity, intent of a classical museum, however it wants to be used, however it wants to use that.
[00:01:38]
It can not, most of the time, house pieces of this general nature that we've been discussing, OK? That's a very real fact. Certainly it can be done, but there isn't the total flexibility that there might be.
[00:01:53]


{SPEAKER name="Michael Asher"}
But the artist, but the artist has to be flexible toward the museum, not the museum necessarily towards the artist.

{SPEAKER name="Jan Butterfield"}
OK. OK. And I understand that. But at the same time.

{SPEAKER name="Michael Asher"}
It isn't that you build, it isn't that you build a larger museum because artists are making larger paintings. That's ludicrous. I mean that's..
[00:02:12]

{SPEAKER name="Jan Butterfield"}
Yeah. That no longer makes sense. It totally spirals.

{SPEAKER name="Michael Asher"}
Yeah. That's totally, that's totally stupid. But...

{SPEAKER name="Jan Butterfield"}
On the other hand, though, there is a
[00:02:21]