ONE PLACE AFTER ANOTHER - Monoskop

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cal determinants, which are not exactly comparable to those of thirty years ago. For example, what is the status of traditional aesthetic values such as originality, authenticity, and uniqueness in site-specific art, which always begins with the particular, local, unrepeatable preconditions of a site, however it is defined? Is the prevailing relegation of authorship to the conditions of the site, including collaborators and/or reader-viewers, a continuing Barthesian performance of the “death of the author” or a recasting of the centrality of the artist as a “silent” manager/director? Furthermore, what is the commodity status of anticommodities, that is, immaterial, processoriented, ephemeral, performative events? While site-specific art once defied commodification by insisting on immobility, it now seems to espouse fluid mobility and nomadism for the same purpose. Curiously, however, the nomadic principle also defines capital and power in our times. 26 Is the unhinging of site specificity, then, a form of resistance to the ideological establishment of art, or a capitulation to the logic of capitalist expansion? Guided by these questions, the next chapter examines two different conditions within which site-specific and site-oriented art have been “circulating” in recent years. First, since the late 1980s, there have been increasing numbers of traveling site-specific art works, despite the once-adamant claim that to move the work is to destroy the work. Concurrently, refabrications of site-specific works, particularly from the minimalist and postminimalist eras, are becoming more common in the art world. The increasing trend of relocating or reproducing once unique site-bound works has raised new questions concerning the authenticity and originality of such works as well as their commodity status. Secondly, now that sitespecific practices have become familiar (even commonplace) in the mainstream art world, artists are traveling more than ever to fulfill institutional/cultural critique projects in situ. The extent of this mobilization of the artist radically redefines the commodity status of the art work, the nature of artistic authorship, and the art-site relationship. 31 GENEALOGY OF SITE SPECIFICITY
y Barry Le Va, Continuous and Related Activities: Discontinued by the Act of Dropping (1967), felt and glass, installation at Newport Harbor Art Museum, California, 1982. (Photo courtesy Sonnabend Gallery, New York.) x Barry Le Va, Continuous and Related Activities: Discontinued by the Act of Dropping (1967), felt and glass, reconstructed for the exhibition “The New Sculpture 1965 –75: Between Geometry and Gesture” at the Whitney Museum, New York, 1990. (Collection of the Whitney Museum of American Art; Purchase, with funds from the Painting and Sculpture Committee.)
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 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
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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
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Sculpture Chicago were shocked to b
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Dealing with some of the most profo
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galleries. They choose instead the
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ound to a geographical region. 33 I
Page 124 and 125:
tend to speak in terms of community
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munity” is repeatedly conjured in
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give voice to underrepresented and
Page 130 and 131:
munity in an exhibition program, as
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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
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This is not necessarily to assert i
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“wrong” place. We are out of pl
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some sociologists prefer). 10 These
Page 174 and 175:
The play begins with Majeski recent
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systems. The enormous sense of powe
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eactive, cultivating what is presum
Page 180 and 181:
Gabriel Orozco, Isla dentro de la i
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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
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mal art colleagues, he used fabrica
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18 See J. I. Gershuny and I. D. Mil
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Projects” share a similar investm
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through a small committee of art ex
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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
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tures were painted. Perhaps for thi
Page 204 and 205:
5 The change in exhibition title si
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Issues Are Focus of New Public Art
Page 208 and 209:
28 See Jeff Kelley, “Common Work,
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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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