A critical history of site-specific art since the late 1960s.
Site-specific art emerged in the late 1960s in reaction to the
growing commodification of art and the prevailing ideals of art's
autonomy and universality. Throughout the 1970s and 1980s, as
site-specific art intersected with land art, process art,
performance art, conceptual art, installation art, institutional
critique, community-based art, and public art, its creators
insisted on the inseparability of the work and its context. In
recent years, however, the presumption of unrepeatability and
immobility encapsulated in Richard Serra's famous dictum "to remove
the work is to destroy the work" is being challenged by new models
of site specificity and changes in institutional and market forces.
One Place after Another offers a critical history of site-specific
art since the late 1960s and a theoretical framework for examining
the rhetoric of aesthetic vanguardism and political progressivism
associated with its many permutations. Informed by urban theory,
postmodernist criticism in art and architecture, and debates
concerning identity politics and the public sphere, the book
addresses the siting of art as more than an artistic problem. It
examines site specificity as a complex cipher of the unstable
relationship between location and identity in the era of late
capitalism. The book addresses the work of, among others, John
Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne
Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles,
and Fred Wilson.
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