When you subscribe to Furtherfield’s newsletter service you will receive occasional email newsletters from us plus invitations to our exhibitions and events. To opt out of the newsletter service at any time please click the unsubscribe link in the emails.
All Content
UFO Icon

All Raise This Barn by MTAA

Eric Dymond

All Raise This Barn – a group-assembled public building and/or sculpture.

“Artists MTAA are conducting an old-fashioned barn-raising using high-tech techniques. The general public group-decides design, architectural, structural and aesthetic choices using a commercially-available barn-making kit as the starting point.” -MTAA

Eric Dymond: Could you give me a brief history of MTAA?

T.Whid: Mike Sarff (M.River of MTAA) and I met in college at the Columbus College of Art & Design in Columbus, OH. We both separately moved to NYC in 1992 and started collaborating as MTAA in 1996 first on paintings and then moving on to public happenings and web/net art. We’ve been collaborating since, showing our work via our websites at and We’ve earned grants and commissions from Creative Capital, and SFMOMA and shown at the New Museum, 01SJ Biennial, the Whitney Museum and Postmasters Gallery.

ED: The All Raise This Barn project uses one community to design and another to construct. Barn raising is itself a communal activity, drawing out the best in people and providing a place of sustenance for the Barn owner. How did you come to use a Barn Raising as the central performance subject?

M.River: From the start, Tim and I have been interested in how groups and individuals communicate. How do we speak to each other? What rules do we use? How does communication fail or how can it be disrupted? What is the desire that engines (TW: controls?) all of this – and so on. This interest in exchange is what attracted us to the Internet as a site for art in the beginning.

Along with communication as text, speech or image, we like to use group-building as a method for working with non-verbal communication. We’ve built robot costumes, car models, aliens and snowmen with large and small groups. It’s a type of building that is intuitive and open to creative improvisation. This kind of intuitive building is heightened by placing a time constraint on the performance. In the end it’s not about the end object, which we always seem to like, but more about the group activity.

So, at some point we began to think how large can we do this? A barn-raising seemed like the next level. It’s bigger than human scale and contains a history of group-building. Barns also have a history of being social spaces. Your home is your world but the barn is your dance hall.

ED: Did you envision it as a community event from the beginning?

MR: Yes. An online community, a physical community and a community that overlaps the two.

ED: It’s a hybrid work that draws upon some important conceptual precedents. The instructional aspect takes Lewitt and turns the strict instructions he uses upside down by allowing online decisions to drive the design. Did you find the responses to the online polling surprising?

MR: Yes and no. Like the other vote works we have produced, Tim and I set up how the polls are worded and run. So, even though we try to keep the process as open as possible, the nature of how people interact is somewhat fenced in. Even with a fence, people will find a way to move in strange directions or break the fence. It’s not that we think of the surprising answers as the goal of the work, but it is an important part of the process.

ED: There is also the performance aspect which I find exciting. The performance from both events are well documented. Were there any concerns regarding the transfer of the polls instructions to physical space?

MR: We had the good fortune of doing the work in two sections. When Steve Dietz commissioned ARTBarn (West) for the 01SJ Out of the Garage exhibition, we spoke about the sculpture as a working prototype for how a large pile of lumber could be group-assembled in a day with direction from Internet polling. From this prototype we then had a model for how to go about ARTBarn (East) for EMPAC.

All Raise This Barn (West). Sept 11, 2010 - San Jose, CA.
All Raise This Barn (West). Sept 11, 2010 – San Jose, CA.
All Raise This Barn (East). Oct 1, 2010 - Troy, NY.
All Raise This Barn (East). Oct 1, 2010 – Troy, NY.

Tim and I had a few loose ground rules on how to approach the translation. One was that we would leave some things open to the interpretation of the crew. Another was that both Tim and I had our favorite poll questions that we tended to focus on. It was impossible to do everything as some polls conflicted with other but some details liked ghosts, dripped paint and open walls seemed to call out to us.

Kathleen Forde, who commissioned ARTBarn (East) for EMPAC, spoke about these details as where the work became more than the sculpture. The small details held the whole process – material, design polls, and performance together.

ED: I think this comment on the details is right. On first glance there is a fun, open appeal to the work. But when you look at the overall project and how the different phases are tied together it becomes really complicated in the mind of the spectator. There are also different definitions of spectator in this work. The spectator who answers the poll, the spectator on the net who is grazing through the documentation, the ones who engage in the physical construction and those who witness the completed barn. It’s not a simple piece when we perform a detailed overview. Did you think about the various types of spectator that would spin off the project? Were the possible roles for the spectator considered after the fact or were they part of the planned concept?

MR: The “ideal spectator” thought first came up for us in a project called Endnode (aka Printer Tree) in 2002. For this work, we built a large plywood Franken-tree with a set of printers in the branches and a computer in the trunk. We then built a list-serve for the tree as well as subscribed it to a few list-serves. When people communicated with the tree, the text was printed out in the exhibition space. At first we talked about the ideal viewer as one who communicated with it online and then saw that communication in the physical space or vice versa.

Detail, filling the paper of Endnode (aka Printer Tree). November 23, 2002. Eyebeam Atelier.
Detail, filling the paper of Endnode (aka Printer Tree). November 23, 2002. Eyebeam Atelier.
Front view of Endnode (aka Printer Tree). November 23, 2002 during the Beta Launch exhibition. Eyebeam Atelier.
Front view of Endnode (aka Printer Tree). November 23, 2002 during the Beta Launch exhibition. Eyebeam Atelier.

Now I feel that the ideal spectator hierarchy is not as important and possibly limiting. Each experience should be whole as well as point to the larger aspects of the work. People can come in and out of the work on different levels. You voted. You followed the performance documentation. Are you missing an experience if you did not build with us or see the results? Yes, an activity is missed. Can you experience that activity thorough documentation. Somewhat. Are you going to have a better understanding of the work. Probably not. Even for me, some aspect of the work will not be experienced. In Troy, they are programing it as a meeting place now that is it is built.. When they are done with it, they will dismantle it and rebuild it elsewhere as a work space.

I say all this even though it is interesting to me that a work can move in and out of levels of viewer experience. I’m not sure as to the draw of it yet but I do not feel it is about an cumulative effect.

TW: Since Endnode I’ve always liked the idea of an art work that exists in multiple (but overlapping) spaces with multiple (but overlapping) audiences. With our pieces Endnode, ARTBarn and Automatic For The People: () there are 3 distinct (but overlapping) audiences: the online audience, the audience in the physical space and the (select few member) audience that experiences the entire thing.

Poster for, Automatic for the People: ( ), conducted from November 8, 2008 to February 7, 2009
Poster for, Automatic for the People: ( ), conducted from November 8, 2008 to February 7, 2009

ED: It’s that opening of possibilities that makes this ultimately a networked piece on many different levels. I find the idea of two barns, a few thousand miles apart yet linked by common purpose really intriguing. I’m talking about the whole set of experiences, not just the physical space of the barn. There’s a collapse of Geographic distance for the community and a richer experience because of that. Was the project conceived as two distinct locations or was that a fortunate turn of events?

MR: Fortune. Kathleen Forde, commissioned ARTBarn (East) for EMPAC then Steve Dietz commissioned the beta version for the 01SJ “Out of the Garage ” exhibition. Everyone liked the idea of the work arching across time and location. We all also liked the idea that the materials would be reclaimed after it stopped being a sculpture. For me, the reclaimation of the materials to use for a functional structure is the final step of the work.

ED: As the final step, the reclamation removes the common space where the community currently shares the sculpture. Does this mean you are going to use the online documentation as the artifact, coming full circle to where the piece began? Is it important to you that the communal memory will share this role?

TW: Yes, the documentation is the artifact. The barn structure or sculpture itself had been conceived as being physically temporary from the beginning.

ED: Thanks to both of you for your time and for this work.