One Place After Another Site Specific Art And Locational Identity Pdf

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A critical history of site-specific art since the late s. Site-specific art emerged in the late s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality.

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One Place after Another

This volume juxtaposes for the first time two striking bodies of work by Delhi-based and internationally recognized contemporary artist Vivan Sundaram. Gagawaka, the first project, consists of twenty-seven sculptural garments made from a bizarre a Brown , Afterimage What makes this book so strong is the steady course it plots through the inevitable polemical rapids. Du kanske gillar. Louis Vuitton Catwalk Inbunden. A World History of Art, Revised 7th ed. Spara som favorit.

Miwon Kwon born November 18, [1] is a Korean curator and art history educator. Her work focuses on contemporary art, land art and site-specific art. Kwon was born in South Korea in , and at age ten migrated to the United States, where her father was employed as a foreign correspondent for a Korean newspaper. She was a founding editor and publisher of the art criticism publication Documents and has contributed essays to a number of arts publications, exhibition catalogs and art monographs. Her work has received critical review Stephen Morton, who praised the book for being "an exciting survey of the genealogies and practices that variously constitute site-specificity" but criticizing it for not addressing "its own site-specificity in the US metropolitan art world". From Wikipedia, the free encyclopedia.

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Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork. Site-specific art is produced both by commercial artists, and independently, and can include some instances of work such as sculpture , stencil graffiti , rock balancing , and other art forms. Installations can be in urban areas, remote natural settings, or underwater. The term "site-specific art" was promoted and refined by Californian artist Robert Irwin [7] [8] but it was actually first used in the mids by young sculptors, such as Patricia Johanson , Dennis Oppenheim , and Athena Tacha , who had started executing public commissions for large urban sites. Modernist art objects were transportable, nomadic, could only exist in the museum space and were the objects of the market and commodification.

One Place after Another

Access options available:. ISBN: What do most people think of when they hear the term "site-specific art"? Richard Serra's Tilted Arc , perhaps, or Claes Oldenburg's baseball bat in Chicago—both examples of what is now pejoratively referred to as "plunk" art.

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Public Art as Publicity

A critical history of site-specific art since the late s. Site-specific art emerged in the late s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the s and s, 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.

Site-specific art emerged in the late s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the s and s, 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 s 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. What makes this book so strong is the steady course it plots through the inevitable polemical rapids.

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One place after another: site-specific art and locational identity / Miwon Kwon. p. cm. Includes bibliographical references and index. ISBN (hc.


Public Art as Publicity