ONE PLACE AFTER ANOTHER - Monoskop

More documents

Recommendations

Info

Mierle Laderman Ukeles, Hartford Wash: Washing Tracks, Maintenance Inside, Wadsworth Atheneum, Hartford, 1973. (Photos courtesy Ronald Feldman Fine Arts, New York.) 23 GENEALOGY OF SITE SPECIFICITY
24 Haacke’s case, in epistemological terms, as in Asher’s displacements, or in sys- temic terms of uneven (gendered) labor relations, as in Ukeles’s performances, it is rather the techniques and effects of the art institution as they circumscribe and de- limit the definition, production, presentation, and dissemination of art that become the sites of critical intervention. Concurrent with this move toward the dematerialization of the site is the simultaneous deaestheticization (that is, withdrawal of visual pleasure) and dematerialization of the art work. Going against the grain of institutional habits and desires, and continuing to resist the commodification of art in/for the marketplace, site-specific art adopts strategies that are either aggressively antivisual—informational, textual, expositional, didactic—or immaterial altogether— gestures, events, or performances bracketed by temporal boundaries. The “work” no longer seeks to be a noun/object but a verb/process, provoking the viewers’ critical (not just physical) acuity regarding the ideological conditions of their view- ing. In this context, the guarantee of a specific relationship between an art work and its site is not based on a physical permanence of that relationship (as demanded by Serra, for example) but rather on the recognition of its unfixed impermanence, to be experienced as an unrepeatable and fleeting situation. But if the critique of the cultural confinement of art (and artists) via its institutions was once the “great issue,” a dominant drive of site-oriented practices today is the pursuit of a more intense engagement with the outside world and everyday life—a critique of culture that is inclusive of nonart spaces, nonart institutions, and nonart issues (blurring the division between art and nonart, in fact). Concerned to integrate art more directly into the realm of the social, 17 either in order to redress (in an activist sense) urgent social problems such as the ecological crisis, homelessness, AIDS, homophobia, racism, and sexism, or more generally in order to relativize art as one among many forms of cultural work, current manifestations of site specificity tend to treat aesthetic and art historical concerns as secondary issues. Deeming the focus on the social nature of art’s production and reception to be too exclusive, even elitist, this expanded engagement with culture favors public sites outside the traditional confines of art both in physical and intellectual terms. 18 Furthering previous (at times literal) attempts to take art out of the mu-
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 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
show all

ONE PLACE AFTER ANOTHER - Monoskop

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?