ONE PLACE AFTER ANOTHER - Monoskop

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Martha Schwartz, Federal Plaza, New York, 1997–1998. (Photo by Seong H. Kwon.) > View of South Bronx Sculpture Park site at Jerome and Gerard avenues and 169th Street (44th Precinct Police Station), c. 1992. (Photo by Nancy Owens.) 59
60 decades. Our story will concentrate on Ahearn’s and Serra’s cases to contemplate the meaningfulness of their respective “empty” sites, especially as they signal the limits and capacity of site specificity today. Three distinct paradigms can be identified within the roughly 35-year his- tory of the modern public art movement in the United States. 3 First, there is the art- in-public-places model exemplified by Alexander Calder’s La Grande Vitesse in Grand Rapids, Michigan (1967), the first commission to be completed through the Art-in-Public-Places Program of the NEA. The second paradigm is the art-aspublic-spaces approach, typified by design-oriented urban sculptures of Scott Burton, Siah Armajani, Mary Miss, Nancy Holt, and others, which function as street furniture, architectural constructions, or landscaped environments. Finally, there is the art-in-the-public-interest model, named as such by critic Arlene Raven and most cogently theorized by artist Suzanne Lacy under the heading of “new genre public art.” 4 Select projects by artists such as John Malpede, Daniel Martinez, Hope Sandrow, Guillermo Gómez-Peña, Tim Rollins and K.O.S., and Peggy Diggs, among many others, are distinguished for foregrounding social issues and political activism, and/or for engaging “community” collaborations. 5 Initially, from the mid 1960s to the mid 1970s, public art was dominated by the art-in-public-places paradigm—modernist abstract sculptures that were often enlarged replicas of works normally found in museums and galleries. 6 These art works were usually signature pieces from internationally established male artists (favored artists who received the most prominent commissions during this period include Isamu Noguchi, Henry Moore, and Alexander Calder). In and of themselves, they had no distinctive qualities to render them “public” except perhaps their size and scale. 7 What legitimated them as “public” art was quite simply their siting outdoors or in locations deemed to be public primarily because of their “openness” and unrestricted physical access—parks, university campuses, civic centers, entrance areas to federal buildings, plazas off city streets, parking lots, airports. In the early 1970s, Henry Moore spoke of his relative indifference to the site, a position that is representative of many (though not all) artists working in the art-in-
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MIWON KWON ONE PLACE AFTER ANOTHER
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MIWON KWON ONE PLACE AFTER ANOTHER
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For Umma and Appa
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ACKNOWLEDGMENTS The first incarnati
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ONE PLACE AFTER ANOTHER
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2 become insignificant or innocuous
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4 no discrete separations or neat p
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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 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 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
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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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