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

4.01 of 5 stars 4.01  ·  rating details  ·  197 ratings  ·  8 reviews
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 i ...more
Paperback, 218 pages
Published February 27th 2004 by MIT Press (MA) (first published June 21st 2002)
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Jacob Wren
Miwon Kwon writes:

It occurred to me some time ago that for many of my art and academic friends, the success and viability of one’s work are now measured by the accumulation of frequent flyer miles. The more we travel for work, the more we are called upon to provide institutions in other parts of the country and the world with our presence and services, the more we give in to the logic of nomadism, one could say, the more we are made to feel wanted, needed, validated and relevant. Our very sense
Brilliant read on critiques on public and community art and how it has evolved from collaborations with architects and urban designers to "sited" collaborations with local communities. Offers some really strong institutional critiques from plural perspectives on how community identity is shaped on assumptions made apriori to the project. All of this builds to one of the more effective critiques on the "postmodern condition" wrapping Bourdieu as well as Deleuze & Guattari on how identity that ...more
Egor Sofronov
If not for too verbose and lengthy critique of identity politics-community-based art of the early-to-mid 90s this book would be a gem. On the registers of polemics, theorization and historicity, Kwon is impeccable. In fact, half of the book was published almost verbatim in the journal October, Spring 1997 and all the important stuff (and engaging reading) is there.
This book was suggested to me as a primer on contemporary discussion of Public Art and though I found it informative, it certainly doesn't offer any new ideas in terms of how practice in the public sphere is changing for artists. Technology and the arts are almost wholey neglected and the book is annoyingly academic at times.
A good question:
"How do we account, for instance, for the sense of soaring exhilaration and the anxious dread ngendered by the new fluidities and continuities of space and time, on the one hand, and their ruptures and disconnections on the other? And what could this doubleness of experience mean in our lives?"
it was terribly dry. so dry that i needed to drink a glass of water when i was done with it. it parched me, no one likes that.
the absence of christo was off-putting.
Jesse McLean
Great history of the theory and practice of public art since the 1960's. Some people took offense at the omission of the Situationists, but I'm okay with it.
an excellent survey and theoretical analysis of site specific art.
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