ONE PLACE AFTER ANOTHER - Monoskop

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10 Daniel Buren, “The Function of the Museum,” Artforum (September 1973). 11 Daniel Buren, “Critical Limits” (1970), in Five Texts (New York: John Weber Gallery, 1974), 38. 12 See “Conversation with Robert Smithson,” edited by Bruce Kurtz, in The Writings of Robert Smithson, ed. Nancy Holt (New York: New York University Press, 1979), 200. 13 For a comprehensive overview of Haacke’s practice from 1969 to 1986, see Hans Haacke: Unfinished Business, ed. Brian Wallis (New York and Cambridge: New Museum of Contemporary Art and MIT Press, 1986). 14 This project involved the relocation of a bronze replica of an eighteenth-century statue of George Washington from its normal position outside the entrance of the Art Institute to one of the smaller galleries inside devoted to eighteenth-century European painting, sculpture, and decorative arts. Asher stated his intentions as follows: “In this work I am interested in the way the sculpture functions when it is viewed in its 18th-century context instead of in its prior relationship to the façade of the building. ... Once inside Gallery 219 the sculpture can be seen in connection with the ideas of other European works of the same period” (as quoted in Anne Rorimer, “Michael Asher: Recent Work,” Artforum [April 1980]: 47). See also Benjamin Buchloh, ed., Michael Asher: Writings 1973–1983 on Works 1969–1979 (Halifax, Nova Scotia, and Los Angeles: Press of the Nova Scotia College of Art and Design and Museum of Contemporary Art, Los Angeles), 207–221. 15 The four performances at the Wadsworth Atheneum, which belong to a larger series (fifteen in all) entitled Maintenance Art Performance Series (1973–1974), were in the context of the exhibition “c. 7,500,” a traveling exhibition of works by twenty-six women conceptual artists organized by Lucy Lippard. Unfortunately, information on the work of women artists of the period involved in conceptual art, institutional critique, and social systems analysis, like Ukeles, remains obscure due to their continued exclusion from the dominant art historical narratives of the 1970s. The few source materials that are available on Ukeles’s work tend to be fraught with factual errors. For instance, Ukeles’s “Maintenance Art Manifesto” (1969), as published in Kristine Stiles and Peter Selz, eds., Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings (Berkeley: University of California Press, 1996), is not only incomplete in its truncation of the statement but has been edited so as to render it useless as a historical document. An effort has been initiated to recuperate some of Ukeles’s earlier work. See Documents 10 (Fall 1997): 5–30. I also refer the readers to Patricia Phillips, “Maintenance Activity: 171 NOTES TO PAGES 11–19
172 Creating a Climate of Change,” in Nina Felshin, ed., But Is It Art?: The Spirit of Art as Activism (Seattle: Bay Press, 1995), 165–194, for a brief survey on the artist’s history and work. 16 For an elaboration on these points, see my essay “In Appreciation of Invisible Work: Mierle Laderman Ukeles and the Maintenance of the ‘White Cube,’” Documents 10 (Fall 1997): 15–18. See also Helen Molesworth, “Work Stoppages: Mierle Laderman Ukeles’ Theory of Labor Value,” Documents 10 (Fall 1997): 19–22; and “House Work and Art Work,” October 92 (Spring 2000): 71–97, which asserts a set of new terms, via Ukeles’s “maintenance art,” for the reconsideration of the history of feminist art since the 1970s. 17 This is not to say that art is not already imbricated within the social. But much of the discourse I am describing imagines the social as a space separate from, indeed antithetical to, the space of art, and that is what I mean to convey here. 18 These concerns coincide with developments in public art, which has reprogrammed site-specific art to be synonymous with community-based art. As exemplified in programs such as “Culture in Action” in Chicago (1992–1993) and “Points of Entry” in Pittsburgh (1996), site-specific public art in the 1990s marks a convergence between cultural practices grounded in leftist political activism, community-based aesthetic traditions, conceptually driven art borne out of institutional critique, and identity politics. An interrogation of site specificity in the public art arena is the subject of chapters 3 and 4. See also Grant Kester’s excellent analysis of recent trends in community-based public art in “Aesthetic Evangelists: Conversion and Empowerment in Contemporary Community Art,” Afterimage (January 1995): 5–11. 19 The exhibition “Arte Joven en Nueva York” was curated by artist José Gabriel Fernandez and hosted by Sala Mendoza and Sala RG in Caracas, Venezuela ( June 9– July 7, 1991). 20 This fourth site, to which Dion would return again and again in other projects, remained consistent even as the contents of one of the crates from the Orinoco trip were transferred to New York City to be reconfigured in 1992 to become New York State Bureau of Tropical Conservation, an installation for an exhibition at American Fine Arts, Co. See the conversation “The Confessions of an Amateur Naturalist,” Documents 1–2 (Fall/Winter 1992): 36–46. See also my interview with Dion in the monograph Mark Dion (London: Phaidon Press, 1997). 21 For additional information on the works I have in mind, see chapter 2, note 25 for Silvia
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MIWON KWON ONE PLACE AFTER ANOTHER
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MIWON KWON ONE PLACE AFTER ANOTHER
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For Umma and Appa
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ACKNOWLEDGMENTS The first incarnati
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ONE PLACE AFTER ANOTHER
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2 become insignificant or innocuous
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4 no discrete separations or neat p
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6 for the consideration of another
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8 In the final chapter, the dissipa
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10 Robert Smithson, Partially Burie
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12 establishing an inextricable, in
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14 itself, falls into the illusion
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Daniel Buren, photo-souvenir: Withi
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from the physical condition of the
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Mierle Laderman Ukeles, Hartford Wa
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Group Material, DaZiBaos, poster pr
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Mark Dion, New York State Bureau of
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tion), a neighborhood or seasonal e
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cal determinants, which are not exa
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� UNHINGING OF SITE SPECIFICITY M
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Richard Serra, Splash Piece: Castin
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adamant their critique of dominant
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42 the point of (re)production. Tha
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Faith Wilding, Womb Room (Crocheted
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now by which the artist comes to ap
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49 UNHINGING OF SITE SPECIFICITY
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Thus, if Richard Serra could once d
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establishment, the exhibition wante
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of various cities a matter of produ
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composition in green, with yards of
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60 decades. Our story will concentr
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62 Isamu Noguchi, Red Cube, Marine
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64 examples of it in public places,
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66 come. 18 Thus, despite the numer
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68 Nancy Holt, Dark Star Park, Ross
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70 < Lobby of the Wiesner Arts and
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specificity, quite explicitly oppos
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such cases it is necessary to work
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78 artistic practice). In fact, the
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80 than promotes the fantasies of p
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82 logue between the artist and his
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84 of the community within which th
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John Ahearn and Rigoberto Torres, c
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In many street casting sessions, he
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Department of General Services who
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homes—the execution may be shoddy
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could not be imagined belonging any
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though the issue cannot be pursued
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larly illuminates the conflicted na
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Suzanne Lacy and A Coalition of Chi
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Sculpture Chicago were shocked to b
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Dealing with some of the most profo
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galleries. They choose instead the
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ound to a geographical region. 33 I
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tend to speak in terms of community
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munity” is repeatedly conjured in
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give voice to underrepresented and
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munity in an exhibition program, as
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seemed to connect them was service
Page 134 and 135: such specific community groups. 56
Page 136 and 137: certain community group by the spon
Page 138 and 139: a local facilitator (Carol Becker o
Page 140 and 141: Mark Dion and the Chicago Urban Eco
Page 142 and 143: Daniel J. Martinez, VinZula Kara, a
Page 144 and 145: Haha and Flood: A Volunteer Network
Page 146 and 147: Iñigo Manglano-Ovalle and Street-L
Page 148 and 149: video production studio. With the n
Page 150 and 151: fact, the uncertainty of identity e
Page 152 and 153: contemporary lust for authentic his
Page 154 and 155: quickly that her interest in pursui
Page 156 and 157: character flaw (lack of initiative,
Page 158 and 159: nity groups. It is perhaps not surp
Page 160 and 161: the neighborhood, from the city: th
Page 162 and 163: presumption of community-based art
Page 164 and 165: in a particular social issue, such
Page 166 and 167: zations are pressured today to thin
Page 168 and 169: This is not necessarily to assert i
Page 170 and 171: “wrong” place. We are out of pl
Page 172 and 173: some sociologists prefer). 10 These
Page 174 and 175: The play begins with Majeski recent
Page 176 and 177: systems. The enormous sense of powe
Page 178 and 179: eactive, cultivating what is presum
Page 180 and 181: Gabriel Orozco, Isla dentro de la i
Page 182 and 183: 7 The term is borrowed from Hal Fos
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Page 188 and 189: mal art colleagues, he used fabrica
Page 190 and 191: 18 See J. I. Gershuny and I. D. Mil
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Page 194 and 195: through a small committee of art ex
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Page 198 and 199: 39 On this point, see Hal Foster,
Page 200 and 201: 61 Ibid. 62 Others not necessarily
Page 202 and 203: tures were painted. Perhaps for thi
Page 204 and 205: 5 The change in exhibition title si
Page 206 and 207: Issues Are Focus of New Public Art
Page 208 and 209: 28 See Jeff Kelley, “Common Work,
Page 210 and 211: Sculpture Chicago staff. One part o
Page 212 and 213: various color choices available for
Page 214 and 215: party are described as “the first
Page 216 and 217: lows: “Often artist and community
Page 218 and 219: 30 Kester, “Aesthetic Evangelists
Page 220 and 221: constitution of the public sphere a
Page 222 and 223: Press, 1997), 7. Much of Lippard’
Page 224 and 225: INDEX Page numbers in italics indic
Page 226 and 227: Democracy, 80, 107, 116 Democratiza
Page 228 and 229: Lindell, John, 28 Linker, Kate, 66-
Page 230 and 231: Shamash, Diane, 103 Site discursive
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