ONE PLACE AFTER ANOTHER - Monoskop

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Mel Bochner, Measurement: Room, tape and Letraset on wall, installation at Galerie Heiner Friedrich, Munich, 1969. (Photo by the artist; Collection The Museum of Modern Art, New York.) 15
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: 14 itself, falls into the illusion
Page 31 and 32: 18 ceeding the physical boundaries
Page 34: Mierle Laderman Ukeles, Hartford Wa
Page 37 and 38: 24 Haacke’s case, in epistemologi
Page 39 and 40: 26 seum/gallery space-system (recal
Page 41 and 42: 28 For example, in Mark Dion’s 19
Page 43 and 44: 30 tual. Of course, even if a parti
Page 45 and 46: y Barry Le Va, Continuous and Relat
Page 48: Richard Serra, Splashing, lead, at
Page 51 and 52: 38 an opportunity to reconsider the
Page 54 and 55: Carl Andre, Fall (1968), installed
Page 56: derstanding of the politics of auth
Page 59 and 60: 46 Itinerant Artists The increasing
Page 61 and 62: Christian Philipp Müller, Illegal
Page 63 and 64: 50 artist is not completely accurat
Page 65 and 66: 52 consistently aligned with the ar
Page 67 and 68: 54 quasi-promotional agendas, that
Page 69 and 70: � SITINGS OF PUBLIC ART: INTEGRAT
Page 72 and 73: Martha Schwartz, Federal Plaza, New
Page 74 and 75: Alexander Calder, La Grande Vitesse
Page 76 and 77: public-places mode: “I don’t li
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either aesthetic edification or urb
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well as potential for fluid communi
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ton. Unsatisfied with the decorativ
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72 the decade. 28 In the meantime,
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74 aspects of Tilted Arc’s site s
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Richard Serra, Tilted Arc, Federal
Page 92 and 93:
Complaints of this type were presen
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Tilted Arc was imposed upon this ne
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only, legible to a limited, art-edu
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John Ahearn, view of South Bronx Sc
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88 Clearly, Ahearn understood that
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90 John Ahearn and Rigoberto Torres
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92 tion to the precinct policemen t
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94 sues here. At any one time, depe
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96 This investment corresponds to a
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98 Ahearn’s assimilative model ba
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� FROM SITE TO COMMUNITY IN NEW G
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102 and produce the art work. The r
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104 their choosing within the city,
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106 minorities and women artists, a
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108 example, this “new public art
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110 addresses such urban issues as
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112 The slide from site-specific to
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114 right to determine the use of n
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116 To test Yngvason’s hypothesis
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118 Community of Mythic Unity The f
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120 Despite our [feminists’] crit
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122 marketing of a commercial produ
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124 ing of interactive community co
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126 (conceptualizing and organizing
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128 times creative) duties to other
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130 The Parks Department, The Beliz
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Chicago’s West Side to form Stree
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134 on friendships and neighborly f
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136 artist’s connection to the ar
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� THE (UN)SITINGS OF COMMUNITY In
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140 presenting or exhibiting the co
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142 them. 18 Moreover, all these id
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144 In other cases, a sense of spec
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146 political issues) challenged an
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148 wide array of group types, its
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150 such, the community ideal parta
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152 bureaucracy and acquired money
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154 product of any work or project;
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� BY WAY OF A CONCLUSION: ONE PLA
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158 Place in a Multicentered Societ
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160 “functional site” to distin
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162 implicitly. First, the space of
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164 ing, destabilizing, even threat
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166 structed should not obscure the
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NOTES INTRODUCTION 1 The two concur
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170 Insights/On Sites: Perspectives
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172 Creating a Climate of Change,
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174 2 “The New Sculpture 1965-75:
Page 189 and 190:
176 of performance art. Consider, f
Page 191 and 192:
178 of American Art; Mise en Scène
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180 3 For background information on
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182 16 The term is commonly attribu
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184 27 For instance, Burton, arguab
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186 D.C. (1982). For more on other
Page 201 and 202:
188 68 Finklepearl, ed., Dialogues
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190 under the direction of Joyce Fe
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192 garde,’ few books have stated
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194 their project was met within th
Page 209 and 210:
196 38 Dan Cameron, “‘Culture i
Page 211 and 212:
198 54 In large-scale performance p
Page 213 and 214:
200 63 See Mary Jane Jacob’s inte
Page 215 and 216:
202 Symbolic Power (Cambridge: Harv
Page 217 and 218:
204 “Outside the Loop,” in Cult
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206 37 Here I am piggybacking on Br
Page 221 and 222:
208 paraphrased by Georges Van Den
Page 223 and 224:
210 15 Here is a sample of such “
Page 225 and 226:
212 Buren, Daniel, 3, 13-14, 26 Wit
Page 227 and 228:
214 Haha, 102, 130-132, 134, 146, 1
Page 229 and 230:
216 Panza Collection, 39 Percent fo
Page 231:
218 Wilson, Fred, 3, 28, 47, 176 (n
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ONE PLACE AFTER ANOTHER - Monoskop

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