ONE PLACE AFTER ANOTHER - Monoskop

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denced throughout the book, this task of imagining altogether new coordinations of art and site is an open-ended predicament. Thus, in its final pages, the book can only conjure the critical capacity of intimacies based on absence, distance, and ruptures of time and space. INTRODUCTION 9
10 Robert Smithson, Partially Buried Woodshed, at Kent State University campus, 1970. (© Estate of Robert Smithson/ VAGA, New York; courtesy James Cohan Gallery, New York.)
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: 8 In the final chapter, the dissipa
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 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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ONE PLACE AFTER ANOTHER - Monoskop

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