After seeing the photo in the Times for the Mass MOCA publicity fest - It occurred to me that most of the art that gets publicity these days seems to have a crane attached to it. The very sexy photos in the Times are almost pornographic! We see a crane stuffing phallic objects into the depths of MassMOCA's warehouse. You can almost hear the groans of ecstacy from our art hero Christoph Büchel as his expensive loads are offhandedly offloaded. Elsewhere - Jeff Koons is busy trying to hang his huge moving parts from a crane in front of the LACMA so that the whole of LA will witness the spectacle of his chugging behemoth coming to life, blowing and whistling and then rolling over and going to sleep. The incredulous and breathless Michael Govan even goes so far as to lay out the trajectory of the outrageous sight saying that it will be seen all the way from the highway. Finally a crane is instrumental to the installation of the rugged perfection of Richard Serra's huge plates of rippling architectural muscle. His sinuous, curving, hard as steel forms are gently pushed into the small corners - delicately brushing up against each other in the heated and cramped viewing rooms of MOMA.
Lets face it - the industrial crane is now the Magnum condom of the supersized artworld guaranteeing safe installation and protection from unwanted outcomes.

That's right my friends - Art has become so huge that cranes are the preferred studio gear of the most successful POMO artists! And to think Andy accomplished the same things with a banana.