|
||||||||||||||||||||
|
||||||||||||||||||||
|
||||||||||||||||||||
よく一緒に購入されている商品
商品の説明
内容説明
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.
Book Description
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, Renée Green, Suzanne Lacy, Iñigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.
--このテキストは、絶版本またはこのタイトルには設定されていない版型に関連付けられています。
--このテキストは、絶版本またはこのタイトルには設定されていない版型に関連付けられています。
登録情報
|
この商品を見た後に買っているのは？
カスタマーレビュー
Amazon.com で最も参考になったカスタマーレビュー (beta)
Amazon.com:
6件のカスタマーレビュー
32 人中、29人の方が、｢このレビューが参考になった｣と投票しています。
useful addition to the literature
2004/5/16
形式:ペーパーバック|Amazonが確認した購入
This book is a useful addition to the literature--a more comprehensive book that also looked at practices outside the USA is what is really needed. That's one of the major drawbacks of this book, it doesn't clearly indicate that it is tracing an American history of the idea of site-specificity.
The first chapter provides a short history of site specificity from an American point of view (minimalism, conceptual art's critique of institutions) and draws heavily on James Meyer's idea of the functional site to think about the present, after that the book is a series of case studies. A better book for considering the range and history of site specific practices (which includes this book's first chapter and Meyer's essay) is Erika Suderburg's Space Site Intervention. Also useful is Site-Specificity: The Ethnographic Turn.
The first chapter provides a short history of site specificity from an American point of view (minimalism, conceptual art's critique of institutions) and draws heavily on James Meyer's idea of the functional site to think about the present, after that the book is a series of case studies. A better book for considering the range and history of site specific practices (which includes this book's first chapter and Meyer's essay) is Erika Suderburg's Space Site Intervention. Also useful is Site-Specificity: The Ethnographic Turn.
18 人中、16人の方が、｢このレビューが参考になった｣と投票しています。
ok for starters
2007/2/8
形式:ペーパーバック
I was waiting eagerly for the Kwon to arrive after I purchased it, perhaps this heightened expectation is to blame for the slight sense of deflation as I read it.
The text has a fairly useful historical overview of the history of 'site' as an artistic idea, with a specifically American focus. One of my disappointments was that Kwon appears to be relying on secondary research, drawing from public art examples already extensively discussed in other public art texts, most notably those of Tom Finklepearl and Grant Kester. The book raises some interesting questions about the relationships between comissioning agents and artists in relation to the thorny problem of what constitutes an identifiable 'community.' These questions are however limited to a narrow interpretation of what public art practice is, remaining close to issues found in what has been called New Genre.
All in all useful as an introduction to the subject, a teaching tool for undergraduate students, but perhaps better as a companion text rather than a definitive source. If you have the Finklepearl already you may not need this one.
The text has a fairly useful historical overview of the history of 'site' as an artistic idea, with a specifically American focus. One of my disappointments was that Kwon appears to be relying on secondary research, drawing from public art examples already extensively discussed in other public art texts, most notably those of Tom Finklepearl and Grant Kester. The book raises some interesting questions about the relationships between comissioning agents and artists in relation to the thorny problem of what constitutes an identifiable 'community.' These questions are however limited to a narrow interpretation of what public art practice is, remaining close to issues found in what has been called New Genre.
All in all useful as an introduction to the subject, a teaching tool for undergraduate students, but perhaps better as a companion text rather than a definitive source. If you have the Finklepearl already you may not need this one.
6 人中、4人の方が、｢このレビューが参考になった｣と投票しています。
A great read
2007/4/29
形式:ペーパーバック
This is a helpful survey of the related issues of site specificity and institutional critique. My students find it accessible, and find that it ties together major themes and artists of the 1970s. Highly recommended for those teaching/studying art since 1970.
これらのレビューは参考になりましたか？
ご意見はクチコミでお聞かせください。
関連商品を探す
- 洋書 > Arts & Photography > Architecture > History
- 洋書 > Arts & Photography > History & Criticism > Criticism
- 洋書 > Arts & Photography > Schools, Periods & Styles > Contemporary Art
- 洋書 > Arts & Photography > Schools, Periods & Styles > Modern
- 洋書 > History
- 洋書 > Professional & Technical > Architecture
- 洋書 > Special Features > By Authors > Arts & Photography
- 洋書 > Special Features > all foreign books
同じキーワードの商品を探す
フィードバック
- カタログ情報、または画像について報告
- 著者からのコメント
- 出版社からのコメント
|
