- Page 1: MIWON KWON ONE PLACE AFTER ANOTHER
- Page 5 and 6: © 2002 Massachusetts Institute of
- Page 8 and 9: CONTENTS ACKNOWLEDGMENTS viii INTRO
- Page 10: The College Art Association support
- Page 14 and 15: INTRODUCTION Site-determined, site-
- Page 16 and 17: architecture, and urban design, on
- Page 18 and 19: Chapter 3 charts the changes in the
- Page 20 and 21: vented communities; and ongoing inv
- Page 22 and 23: denced throughout the book, this ta
- Page 24 and 25: � GENEALOGY OF SITE SPECIFICITY S
- Page 26 and 27: 1970s (land/earth art, process art,
- Page 28: Mel Bochner, Measurement: Room, tap
- 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
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Carl Andre, Fall (1968), installed
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derstanding of the politics of auth
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46 Itinerant Artists The increasing
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Christian Philipp Müller, Illegal
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50 artist is not completely accurat
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52 consistently aligned with the ar
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54 quasi-promotional agendas, that
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� SITINGS OF PUBLIC ART: INTEGRAT
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Martha Schwartz, Federal Plaza, New
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Alexander Calder, La Grande Vitesse
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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
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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:
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176 of performance art. Consider, f
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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
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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
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196 38 Dan Cameron, “‘Culture i
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198 54 In large-scale performance p
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200 63 See Mary Jane Jacob’s inte
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202 Symbolic Power (Cambridge: Harv
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204 “Outside the Loop,” in Cult
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206 37 Here I am piggybacking on Br
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208 paraphrased by Georges Van Den
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210 15 Here is a sample of such “
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212 Buren, Daniel, 3, 13-14, 26 Wit
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214 Haha, 102, 130-132, 134, 146, 1
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216 Panza Collection, 39 Percent fo
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218 Wilson, Fred, 3, 28, 47, 176 (n