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| One Place after Another: Site-Specific Art and Locational Identity | 
 enlarge | Author: Miwon Kwon
Publisher: The MIT Press
Category: Book
List Price: $19.95
Buy New: $12.84
You Save: $7.11 (36%)
Buy New/Used from $12.84
Avg. Customer Rating:  (5 reviews)
Sales Rank: 23163
Languages: English (Original Language), English (Unknown), English (Published)
Media: Paperback
Number Of Items: 1
Pages: 230
Shipping Weight (lbs): 0.9
Dimensions (in): 9 x 6.9 x 0.5
ISBN: 026261202X
Dewey Decimal Number: 709
EAN: 9780262612029
ASIN: 026261202X
Publication Date: April 1, 2004
Availability: Usually ships in 1-2 business days
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| Editorial Reviews:
Product 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. iOne Place after Another/i 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, ReneGreen, Suzanne Lacy, In Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.
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| Customer Reviews:
 A great read April 28, 2007
2 out of 4 found this review helpful
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.
 ok for starters February 8, 2007
10 out of 10 found this review helpful
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.br /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. br /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.
useful addition to the literature May 16, 2004
24 out of 25 found this review helpful
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. pThe 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.
 One obscure word after another is more like it September 27, 2003
11 out of 38 found this review helpful
Miwon Kwon's writing is extremely wordy and very hard to grasp. You'll inevitably spend more time looking up her obscure vocabulary than actual reading. I found her writing hard to comprehend even after reading chapters multiple times. I'm a college level reader, and have experienced few problems understanding other art related readings. Her sentences are incredibly redundant and very hard to understand. Honestly, I would ONLY recommend this book to College Professors or anyone with a PHD; otherwise save your self the time and pass this one up. You'll be happy you did.
 one contention after another August 10, 2002
22 out of 40 found this review helpful
I find Kwon's book informative and insightful, especially as a practitioner working with installation and context-specific project, and with current development of contemporary theories particularly in mind. Kwon's geneological approach towards reading the development of site-specific work is impressive, obviously overlaid with cultural theory in her analysis. Although she has focused mainly on the perplexity of community-charged art projects at the later chapter, her delivery on spatial politics and the many other facets of the production of site-specific art is most valuable, especially with some useful terminology and concepts (in reading the progress of these practice). Reading the text in conjunction with few other similar books on the issue of space, site and art production, one could discern some of the common notions of criticality and urgency in addressing the unscrupulous co-option of mainstream institutional forces. No doubt, the text could post as both informative and also a challenge towards artistic production, itself in turn becomes a site of intervention as it suggest (and aim) for communal praxis in an (politically correct) age of `glocalisation'.
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