Konstfacks bibliotek

*00000987nam a22003137a 4500
*00113191
*00520151017030900.1
*008010911s2002    xxu           001 0 eng c
*020  $a0-262-11265-5 (pb)
*020  $a0-262-61202-X
*035  $a(SE-LIBR)4739153
*035  $a(Ko)14467
*040  $aG
*082  $a709$b.04$221
*084  $aIb-qa$2kssb/7
*084  $aIaa$2kssb/7
*1001 $aKwon, Miwon
*24500$aOne place after another :$bsite-specific art and locational identity /$cMiwon Kwon
*260  $aCambridge, Mass. :$bMIT Press,$ccop. 2002
*300  $a218 s. :$bill.
*504  $aIncludes bibliographical references and index
*650 0$aSite-specific art
*650 0$aArt, Modern$y20th century
*650 7$aModern konst$xhistoria$y1900-talet$2sao
*650 7$aKonsthistoria$zFörenta staterna$y1945-$2sao
*841  $5Ko$ax  a$b020819||    |||||001|||  |000000$e1
*8528 $5Ko$bKo$cKONST -$hIaa$lKWO
^

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.

• Acknowledgmentsp. viii
• Introductionp. 1
• Genealogy of Site Specificityp. 11
• Unhinging of site specificityp. 33
• Sitings of Public Art: Integration Versus Interventionp. 56
• From Site to Community in New Genre Public Art: The Case of "Culture in Action"p. 100
• The (UN)Sitings of Communityp. 138
• By Way of a Conclusion: One Place After Anotherp. 156
• Notesp. 168
• Indexp. 211