ONE PLACE AFTER ANOTHER - Monoskop

More documents

Recommendations

Info

61 Ibid. 62 Others not necessarily aligned with new genre public art have also registered a sense of disappointment at Serra’s work not being “radical” enough. See Finklepearl, ed., Dialogues in Public Art, 35. See also James Meyer’s critique of Tilted Arc’s “negative” monumentality in “The Functional Site,” Documents 7 (Fall 1994): 20–29. 63 The phrase is borrowed from Stuart Hall’s critique of the cultural politics of Margaret Thatcher’s England in “Popular-Democratic vs Authoritarian Populism: Two Ways of ‘Taking Democracy Seriously,’” in The Hard Road to Renewal: Thatcherism and the Crisis of the Left (London: Verso, 1988), 123–149. Rosalyn Deutsch explains the concept succinctly as “the mobilization of democratic discourses to sanction, indeed to pioneer, shifts toward state totalitarianism.” Deutsche, Evictions, 266. 64 This undertheorized alliance set the stage for the identity politics and political correctness debates of the early 1990s. In terms of public art, little room was left for bold, ambitious artistic statements that did not engage social issues or the “community.” 65 This directive expanded in the early 1990s to include “educational activities which invite community involvement.” See Lacy, ed., Mapping the Terrain, 24. For a sample case of the shift in attitude toward greater community participation in public art, see Tom Finklepearl’s assessment of the 1999 community cultural plan of Portland, Maine, in his Dialogues in Public Art, 43–44. 66 Finklepearl, ed., Dialogues in Public Art, 81. 67 Ibid., 81–82. Art historian Erika Doss has pointed out that “throughout the 1980s, the NEA [and state arts agencies] avoided funding public art projects that were specifically commemorative or representational,” preferring modern abstract art of artists such as Stephen Antonakos, Robert Irwin, Richard Fleischner, Tony Smith, Mark di Suvero, Mary Miss, Athena Tacha, and Richard Serra. She argues that the aesthetic vocabulary of abstraction, which is not shared by the general audience (who seem to prefer easily understandable symbolism), is one main source of the many public art controversies of the 1980s. It is important to note that the NEA corrected itself in the late 1980s, however, with the following addition to their guidelines: “The [NEA] must not, under any circumstances, impose a single aesthetic standard or attempt to direct artistic content.” Doss claims that with such a revised vision, the NEA increased funding for representational art, such as public murals, in the 1990s. See Doss, Spirit Poles and Flying Pigs, 51, fn. 24. 187 NOTES TO PAGES 80 – 84
188 68 Finklepearl, ed., Dialogues in Public Art, 82. 69 John Ahearn, quoted in Jane Kramer, Whose Art Is It? (Durham: Duke University Press, 1994), 39. For a detailed overview of Ahearn’s practice from 1979 to 1991, see the exhibition catalogue South Bronx Hall of Fame: Sculptures by John Ahearn and Rigoberto Torres (Houston: Contemporary Arts Museum, 1991). 70 For an informative review of art dealing with the stereotypes and realities of life in the Bronx, see Urban Mythologies: The Bronx Represented since the 1960s (Bronx: Bronx Museum of the Arts, 1999), the catalogue of an exhibition curated by Lydia Yee and Betti-Sue Hertz. 71 Ahearn as quoted in Kramer, Whose Art Is It?, 38. 72 Ibid., 74–75. 73 Serra, “Tilted Arc Destroyed,” 203. 74 Torres worked first as an assistant, then as partner of Ahearn through the 1980s. They have each credited the other with opening up their work and life. See Kramer, Whose Art Is It?, especially pp. 58–60 and 120–125 on the relationship between the two artists. 75 Fashion Moda was an alternative gallery space founded by Stefan Eins, an Austrian artist, in 1978, that operated for about ten years. The importance of this space in the burgeoning of the “alternative scene” in the early 1980s cannot be underestimated. According to Marshall Berman’s chronicle of the Bronx, “For a decade or more, Fashion Moda brought downtown artists, musicians, and writers together with uptown graffiti painters, rappers, break dance crews, and curious people who came in from off the street. Eins was immensely resourceful at working various government bureaucracies and helping artists get space to mount innovative installations in schools and parks, in abandoned apartment buildings (there were so many), and on the streets.” See Marshall Berman, “Views from the Burning Bridge,” in Urban Mythologies, exh. cat., 76. Also see Betti-Sue Hertz’s essay “Artistic Intervention in the Bronx” in the same exhibition catalogue, 18–27. 76 John Ahearn as quoted in Kramer, Whose Art Is It?, 111. 77 Ahearn as quoted in ibid., 60. 78 Arthur Symes and Claudette LaMelle made these charges without actually seeing the work. Their criticism was based on a few Polaroid snapshots taken at the foundry before the sculp-
Page 1 and 2:
MIWON KWON ONE PLACE AFTER ANOTHER
Page 4 and 5:
MIWON KWON ONE PLACE AFTER ANOTHER
Page 6:
For Umma and Appa
Page 9 and 10:
ACKNOWLEDGMENTS The first incarnati
Page 12:
ONE PLACE AFTER ANOTHER
Page 15 and 16:
2 become insignificant or innocuous
Page 17 and 18:
4 no discrete separations or neat p
Page 19 and 20:
6 for the consideration of another
Page 21 and 22:
8 In the final chapter, the dissipa
Page 23 and 24:
10 Robert Smithson, Partially Burie
Page 25 and 26:
12 establishing an inextricable, in
Page 27 and 28:
14 itself, falls into the illusion
Page 30 and 31:
Daniel Buren, photo-souvenir: Withi
Page 32:
from the physical condition of the
Page 36 and 37:
Mierle Laderman Ukeles, Hartford Wa
Page 38 and 39:
Group Material, DaZiBaos, poster pr
Page 40 and 41:
Mark Dion, New York State Bureau of
Page 42 and 43:
tion), a neighborhood or seasonal e
Page 44 and 45:
cal determinants, which are not exa
Page 46:
� UNHINGING OF SITE SPECIFICITY M
Page 50 and 51:
Richard Serra, Splash Piece: Castin
Page 52:
adamant their critique of dominant
Page 55 and 56:
42 the point of (re)production. Tha
Page 58 and 59:
Faith Wilding, Womb Room (Crocheted
Page 60 and 61:
now by which the artist comes to ap
Page 62 and 63:
49 UNHINGING OF SITE SPECIFICITY
Page 64 and 65:
Thus, if Richard Serra could once d
Page 66 and 67:
establishment, the exhibition wante
Page 68 and 69:
of various cities a matter of produ
Page 70:
composition in green, with yards of
Page 73 and 74:
60 decades. Our story will concentr
Page 75 and 76:
62 Isamu Noguchi, Red Cube, Marine
Page 77 and 78:
64 examples of it in public places,
Page 79 and 80:
66 come. 18 Thus, despite the numer
Page 81 and 82:
68 Nancy Holt, Dark Star Park, Ross
Page 83:
70 < Lobby of the Wiesner Arts and
Page 86 and 87:
specificity, quite explicitly oppos
Page 88:
such cases it is necessary to work
Page 91 and 92:
78 artistic practice). In fact, the
Page 93 and 94:
80 than promotes the fantasies of p
Page 95 and 96:
82 logue between the artist and his
Page 97 and 98:
84 of the community within which th
Page 100 and 101:
John Ahearn and Rigoberto Torres, c
Page 102 and 103:
In many street casting sessions, he
Page 104 and 105:
Department of General Services who
Page 106 and 107:
homes—the execution may be shoddy
Page 108 and 109:
could not be imagined belonging any
Page 110 and 111:
though the issue cannot be pursued
Page 112 and 113:
larly illuminates the conflicted na
Page 114 and 115:
Suzanne Lacy and A Coalition of Chi
Page 116 and 117:
Sculpture Chicago were shocked to b
Page 118 and 119:
Dealing with some of the most profo
Page 120 and 121:
galleries. They choose instead the
Page 122 and 123:
ound to a geographical region. 33 I
Page 124 and 125:
tend to speak in terms of community
Page 126 and 127:
munity” is repeatedly conjured in
Page 128 and 129:
give voice to underrepresented and
Page 130 and 131:
munity in an exhibition program, as
Page 132 and 133:
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
Page 184 and 185: 10 Daniel Buren, “The Function of
Page 186 and 187: Kolbowski; and chapter 5, note 31 f
Page 188 and 189: mal art colleagues, he used fabrica
Page 190 and 191: 18 See J. I. Gershuny and I. D. Mil
Page 192 and 193: Projects” share a similar investm
Page 194 and 195: through a small committee of art ex
Page 196 and 197: of the National Endowment for the A
Page 198 and 199: 39 On this point, see Hal Foster,
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
show all

ONE PLACE AFTER ANOTHER - Monoskop

Create successful ePaper yourself

Delete template?

Save as template?