Kwon one place after another

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kwon one place after another

One Place After Another: Site-Specific Art and Locational Identity by Miwon Kwon

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 arts 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 Serras 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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Published 18.12.2018

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Notes and thoughts about ‘One Place After: Notes on Site Specificity’ by Miwon Kwon

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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Kwon, Miwon. One place after another: site-specific art and locational identity / Miwon Kwon. And Seong Kwon remains an inspiration, helping me to keep all.
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It was published in the Spring of and appears in October I was asked to read the first part of the article the article had three parts. In the past site specificity used implied a connection between the artwork and the location. However, during the s and s this connection was being questioned. Why should you need to change something about a sculpture for a site? Early site specific art aimed to establish a relationship between the work and its site.

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