ONE PLACE AFTER ANOTHER - Monoskop

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Carl Andre, Fall (1968), installed at the Guggenheim Museum SoHo for the exhibition “Selections from the Guggenheim Museum,” 1992. (Photo by David Heald, © The Solomon R. Guggenheim Foundation, New York, Panza Collection.) 41
42 the point of (re)production. That is, with the evacuation of “artistic” traces, the artist’s authorship as producer of objects is reconfigured as his/her authority to au- thorize in the capacity of director or supervisor of (re)production. The guarantee of authenticity is finally the artist’s sanction, which may be articulated by his/her ac- tual presence at the moment of production-installation or via a certificate of verifi- cation. 8 While Andre and Judd once problematized authorship through the recruitment of serialized industrial production, only to cry foul years later when their proposition was taken to one of its logical conclusions, 9 artists whose practices are based in modes of “traditional” manual labor have registered a more complex un- Sol LeWitt, certificate for Wall Drawing no. 150, October 1972. (Courtesy The Solomon R. Guggenheim Foundation, New York, Panza Collection.)
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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 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 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
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could not be imagined belonging any
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though the issue cannot be pursued
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larly illuminates the conflicted na
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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
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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
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munity in an exhibition program, as
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seemed to connect them was service
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such specific community groups. 56
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certain community group by the spon
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a local facilitator (Carol Becker o
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Mark Dion and the Chicago Urban Eco
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Daniel J. Martinez, VinZula Kara, a
Page 144 and 145:
Haha and Flood: A Volunteer Network
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Iñigo Manglano-Ovalle and Street-L
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video production studio. With the n
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fact, the uncertainty of identity e
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contemporary lust for authentic his
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quickly that her interest in pursui
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character flaw (lack of initiative,
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nity groups. It is perhaps not surp
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the neighborhood, from the city: th
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presumption of community-based art
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in a particular social issue, such
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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
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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
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Gabriel Orozco, Isla dentro de la i
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7 The term is borrowed from Hal Fos
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10 Daniel Buren, “The Function of
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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
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39 On this point, see Hal Foster,
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61 Ibid. 62 Others not necessarily
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tures were painted. Perhaps for thi
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5 The change in exhibition title si
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Issues Are Focus of New Public Art
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28 See Jeff Kelley, “Common Work,
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Sculpture Chicago staff. One part o
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various color choices available for
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party are described as “the first
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lows: “Often artist and community
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30 Kester, “Aesthetic Evangelists
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constitution of the public sphere a
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Press, 1997), 7. Much of Lippard’
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INDEX Page numbers in italics indic
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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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