"Tom Sachs' Technics turntable carton is a Brillo box for the disco generation. I am not a vinyl fetishist. Computer files are so much more convenient, and now that storage is cheap there is much less compromise on sound if you rip everything in Lossless. Vinyl probably does sound better than digital but may not be the ultimate. Last week I listened to an octogenarian producer who founded one of the greatest record labels of all time telling a sixty five year old artist producer with an equally remarkable resume that 78s sounded best of all if it they were properly recorded and provided one fitted the correct needle for each particular lacquer on the gramophone. So perhaps Tom should have recreated the box for a 78 turntable. Of course all the best dance records are 45s so with the Sachs Technics turntable box one can feel au courant whilst listening to one’s comprehensive MP4 collection at home. In a perfect world I would place Tom's 2003 foam core Technics turntable on top of this work. The masking tape would still be visible."
The 8: Michael Zilkha
What is your line of work?
Making energy from wood.
What is your earliest memory of art?
Lawrence of Arabia. Since there were no home videos then I saw the film twice, owned the glossy commemorative program booklet, the soundtrack record, and a copy of The Seven Pillars of Wisdom (too dense for me to get through at the time but it had a powerful aura) and so was able to relive the experience again and again.
If you could own any work of art, which one would you choose?
Le Tricheur by Georges de La Tour. There are two versions. I prefer
the Kimbell’s to the Louvre’s because the prodigal son is more
dissipated, but would settle for either.
Which museum/foundation would you like to be locked in one night?
The Art Institute of Chicago or The Prado. If I had longer, and I could bring in an excellent portable lighting system and a lightweight ladder, then the Louvre. My friend Nan Goldin had that opportunity, and the resultant film, Scopophilia played at The Louvre as part of the Faces and Bodies program Patrice Chéreau curated there last fall. Watching it made me realize how little I knew of their collection.