ONE PLACE AFTER ANOTHER - Monoskop

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Faith Wilding, Womb Room (Crocheted Environment), installed at Womanhouse, Los Angeles, 1972. (Photo by Lloyd Hamrol; courtesy the artist.) > Faith Wilding, Womb Room (Crocheted Environment), reconstructed for the exhibition “Division of Labor: ‘Women’s Work’ in Contemporary Art” at the Bronx Museum, 1995. (Photo by Becket Logan; courtesy Bronx Museum of Art.) 45 UNHINGING OF SITE SPECIFICITY
46 Itinerant Artists The increasing institutional interest in current site-oriented practices that mobilize the site as a discursive narrative is demanding an intensive physical mobilization of the artist to create works in various cities throughout the cosmopolitan art world. Typically, an artist (no longer a studio-bound object maker; primarily working now on call) is invited by an art institution to produce a work specifically configured for the framework provided by the institution (in some cases the artist may solicit the institution with a proposal). Subsequently, the artist enters into a contractual agreement with the host institution for the commission. There follow repeated visits to or extended stays at the site; research into the particularities of the institution and/or the city within which it is located (its history, constituency of the [art] audience, the installation space); consideration of the parameters of the exhibition itself (its thematic structure, social relevance, other artists in the show); and many meetings with curators, educators, and administrative support staff, who may all end up “collaborating” with the artist to produce the work. The project will likely be timeconsuming and in the end will have engaged the “site” in a multitude of ways, and the documentation of the project will take on another life within the art world’s publicity circuit, which will in turn alert another institution to suggest another commission. Thus, if the artist is successful, he or she travels constantly as a freelancer, often working on more than one site-specific project at a time, globetrotting as a guest, tourist, adventurer, temporary in-house critic, or pseudo-ethnographer11 to São Paulo, Paris, Munich, London, Chicago, Seoul, New York, Amsterdam, Los Angeles, and so on. 12 Generally, the in situ configuration of a project that emerges out of such a situation is temporary, ostensibly unsuitable for re-presentation anywhere else without altering its meaning, partly because the commission is defined by a unique set of geographical and temporal circumstances and partly because the project is dependent on unpredictable and unprogrammable on-site relations. But such conditions, despite appearances to the contrary, do not circumvent or even complicate the problem of commodification, because there is a strange reversal
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MIWON KWON ONE PLACE AFTER ANOTHER
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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 55 and 56: 42 the point of (re)production. Tha
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
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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
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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
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Lindell, John, 28 Linker, Kate, 66-
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Shamash, Diane, 103 Site discursive
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