Professional Documents
Culture Documents
O b j e t s e n P r O c s
Objects In PrOgress
Aprs la dmatrialisation de lart / After the Dematerialisation of Art
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Publi avec l'appui du Fonds national suisse de la recherche scientifique.
table
Introduction
Objets en procs
11
Objects in Progress
Ileana Parvu
21
Dmatrialisations/Dematerialisations
In search of the Insignificant. street Work, borderline Art and
Dematerialisation
Anna Dezeuze
35
Le lieu de mmoire or the (Im)memorability of sculpture
Penelope curtis
65
l'preuve de l'espace/the trial of space
Outside/Inside. Public and Private in the Work of rachel Whiteread
sue Malvern
85
L'espace des chaussettes. Socks (1995) de gabriel Orozco dans le
projet Migrateurs
Ileana Parvu
103
rsums/Abstracts
204
crdits
207
35
the minimum requirement of aesthetic identity in a work of art has been legibility as an
object, a degree of compactness (so that the
object is united, composed, stable). In the
1960s, a number of non-compact art forms
(diffuse or nearly imperceptible) have proliferated.
ALLOWAy [1969: 207]
Had you walked on Fourteenth, grand,
broome, spring, or Prince streets a few weeks
ago, you might not have been aware that
Street Works were in progress some seven
hundred of them.
grUen [1969]
though Lawrence Alloway does not mention them in his 1969 article
on the expanding and Disappearing Work of Art, few events seem to
exemplify his concern with non-compact art forms as well as the
series of Street Works initiated in new york that same year. Indeed,
many of the street Works on show in May 1969 were so diffuse and
nearly imperceptible that the seven hundred figure quoted by the
reviewer is impossible to verify. the figure corresponds in fact to the
number of invitations sent out by the organisers of Street Works III
poets john Perreault and Hannah Weiner, and painter Marjorie strider
who would not have been able to confirm themselves how many
artists responded to their announcement, which specified only a
place (the area delimited by grand, Prince, greene and Wooster
streets in new york), date, and time (25 May, 9 pm-12 midnight). In
this kind of event, remarked Perreault, it was difficult to tell what
objects and what activities were or were not street Works [PerreAULt
1969f]. Weaving together a discussion of Alloway's essay and a
study of the six Street Works events which took place between March
1969 and March 1970 allows us to trace an alternative narrative of
the dematerialisation of the art object, first delineated by Lucy
Lippard and john chandler in 1968. I will also demonstrate how
Alloway's focus on the interface with other things rather than the
movement of reduction or subtraction suggested by Lippard and
chandler's definition of ultra-conceptual art intersects not only
with jack burnham's contemporary definition of a systems aesthetics, but also with the concept of borderline art outlined by Fluxus
artist george brecht in the early 1960s. by bringing together this set
of practices and these theoretical texts, I will map out a genealogy for
borderline practices in conceptual art since the 1960s, and develop
a critical vocabulary to describe this form of non-compact work.
systems, boundaries, borderline Art
All legitimate art deals with limits. Fraudulent art feels it has no
limits. [] [t]he trick is to locate those elusive limits [sMItHsOn
1969: 90]. robert smithson's comment, in a june 1969 interview,
reveals a concern shared by both artists and theorists of conceptual art during this period. As Lippard retrospectively recalled, much of
the discussion at the time had to do with boundaries those
imposed by conventional art definitions and contexts, and those
chosen by the artists to make points about the new, autonomous
lines they were drawing [LIPPArD 1993: XX]. boundaries were certainly crucial to Alloway's definition of interfaces in his 1969 essay on
the expanding and Disappearing Work of Art: the first meaning of
interface according to him was a surface forming a common boundary of two bodies or two spaces in this case, the problematic
boundaries of art's zone and our space [ALLOWAy 1975: 193]. the
second meaning of the term interface chosen by Alloway is the
changeover from one system of communication to another, with reference to the proliferation of different media in the 1960s, whether
performance, Land Art, language, documentation and photography.
the term system had been foregrounded by burnham in his 1968
analysis of similar developments, in which according to him art does
not reside in material entities, but in relations between people and
between people and the components of their environment [bUrnHAM
1968: 31]. As he explains, his proposed system approach [] deals
DeMAterIALIsAtIOns
37
in a revolutionary fashion with the larger problem of boundary concepts [bUrnHAM 1968: 32]. both Alloway and burnham seemed to
agree that contemporary art practices challenged the formalist
model of the self-contained, autonomous artwork. burnham sought
to define this move away from the finite, unique work of high art as
a shift to systems rather than objects, whereas Alloway contrasted
the formalist approach that aims to distil and purify art with one
that studies the expansion and connectivity of art [ALLOWAy 1975b:
193].
Unsurprisingly, both theories mentioned the non-sites of smithson, in
which the artist sought to locate the elusive limits of art, by exhibiting
rock and earth samples in the gallery, alongside a map documenting
their exact geographical origin. In fact, Alloway devotes a whole essay
to the artist's work in his study of art and interface. While burnham
points to the environmental sensibility at the heart of smithson's
move away from the preciousness of the work of art, Alloway praises
his art of expanding thresholds [bUrnHAM 1968: 34; ALLOWAy 1973:
229]. smithson's work and writing perform, according to him, a shift
from an art of autonomous objects to an art penetrating the world and
penetrated by sign systems [ALLOWAy 1973: 229-230].
Perhaps more surprising is the significance of Allan Kaprow's mid- to
late-1960s works and writings for both burnham and Alloway.
Kaprow, traditionally associated with the late-1950s happenings, had
started to develop in the late 1960s more elegant events which he
would come to designate as activities. Alloway mentions, for example, Pose, one of the 1969 Six Ordinary Happenings, which involves:
carrying chairs through the city
sitting down here and there
Photographed
Pix left on spot
going on.2
DeMAterIALIsAtIOns
39
In its slightly different final version, the score for Three Chair Events
was in fact realised at the exhibition Environments, Situations,
Spaces (Six Artists) at the Martha jackson gallery in March-june
1961. For his contribution to this group show, brecht placed three
(white, black and yellow) chairs in different locations in the exhibition; the white chair, for example, stood next to the gallery entrance.
though the score was handed out to visitors, many of them failed to
notice the chairs and casually sat on them. For brecht, noticing the
chairs constituted occurrences that were in themselves performances of the Three Chair Events.
though brecht's assembled notes on the event would not have been
as widely read as Kaprow's publications (or those by Alloway,
burnham, or Lippard), I would like to argue that they offer a crucial
framework to understand one specific type of non-compact artwork
in the 1960s: a borderline art that balances on the precarious line
between art and everyday life. this line also lay at the heart of
Kaprow's practice, whose move from happenings to activities in the
mid-1960s could be read as a shift towards the kind of event score
that brecht had been developing since the beginning of the decade.
When Kaprow spoke (in a 1967 essay mentioned by Alloway) of the
paradoxical position of being art-life or life-art occupied by his activities, he seemed to be toeing the very borderline described by
brecht [KAPrOW 1967: 87]. this is why activities according to Kaprow
are risky: this paradoxical position is precarious because the handshake between participants and their environment can easily be
lost [KAPrOW 1967: 88].
DeMAterIALIsAtIOns
41
the moment itself it exists in the present and the future, as well as
the past [brecHt 1961: 74-75A].8
brecht's perspective on borderline art establishes a clear relation
between the artwork's precarious existence at the point of imperceptibility and everyday reality itself: it is because life itself has no form that
a nothing-special artwork that seeks to grasp it will inevitably teeter on
the point of becoming dimensionless, having no form. this unique
insight sheds new light on Alloway's theory of art and interface by shifting the focus away from the boundaries imposed by definitions of art, to
interrogating the reasons why these boundaries of art shifted, and
addressing the precise nature of their relation to the everyday.
significantly, Lippardherself became aware of such substantial distinctions, as she declared in a 1969 interview that certain conceptual
artists remained very much concerned with Art, with retaining a consistency, or coherency, whereas others chose in contrast to include
far more than they exclude, thereby adopting an acceptive instead of
a rejective approach[LIPPArD 1973: 7]. even when an artist choosing the
latter approach decides to use non-art, immaterial situations, he or she
imposes a closed instead of an open system that will work to assert a
formal or structural point of view. In this way, Lippard succeeded in
extending Alloway's opposition between the solid, united, composed,
stable object on the one hand, and diffuse or expanded art forms on
the other, beyond a polarity between conventional, autonomous artwork and dematerialised practices. even non-compact forms, she
argued, can carry over certain artistic concerns with compact, coherent and consistent structures. though Lippard's inventory in Six Years,
like Alloway's list of non-compactforms, makes no distinction between
these different approaches, I would like to argue that it is central for our
understanding of dematerialisation at this time.
If Lippard briefly drew attention to the degree of acceptance involved
in dematerialised conceptual practices, and Alloway spoke of the
degree of compactness that constitutes a minimum requirement of
aesthetic identity, brecht's borderline art exists precisely at the
interface between these two variable systems. the more it accepts
non-art reality, the less compact and thus less legible an art form
becomes, leading us to wonder, with brecht:
If art were not in form, it could be (life) instead of art.
or: can art not be in form and still be art?
brecHt [1961: 74-75A]
Street Works
It was both the setting and the looseness of the format that allowed
the 1969-1970 Street Works events to venture into the ambiguous
territory of borderline art. According to john Perreault, the poet and
critic who was the main spokesman for the events, a street Work
could be anything that takes place in the street or is placed in the
street, calls attention to the street, is temporary, and is designated or
created by an artist as a street Work [PerreAULt 1969-70]. the definition of the work was entirely contingent on the specific time and
place designated by Perreault and his co-organisers. Apart from the
announcement (fig. 1), there was no systematic visual documentation of the events; most of our knowledge derives from a supplement
to issue six of the magazine 0-9 edited by Vito Acconci and
bernadette Mayer, who both participated in the first Street Works, as
well as Perreault's fragmentary reviews in the Village Voice, along
with the odd proposal, photograph, or press release.9 the format
varied from one Street Work to another variables included the
number of invitations, as well as the designated area and time period.
Street Works IV stands out as being the most carefully planned and
advertised because it was sponsored by the Architectural League in
new york; the street works that the limited number of artists created
for the opening at the Architectural League, and for subsequent
weeks, were all announced in advance. the last Street Works, which
was named World Works, differed from all past events in that it
involved artists around the world performing street Works at the
same time and subsequently sending their reports to the organisers.
the organisers were the only ones to participate in all six Street
Works; some artists contributed repeatedly, others only once. some
works are attributed to different artists by different sources, while
others have remained anonymous. Few artists have kept records of
their participation, and some fail entirely to mention their participation in Street Works in their list of exhibitions or reviews.
However marginal, the Street Works did not occur in a void. they were
above all a collaboration of artists and poets who were exploring different formats for the presentation of their work. Perreault, Weiner
and eduardo costa (who would participate in Street Works I-IV) had
organised in january 1969 the widely publicised Fashion Event
Poetry Show, for example, which had invited both visual artists and
poets to create innovative costumes to be modelled by their friends.
DeMAterIALIsAtIOns
43
of her bicycle for Street Works I (fig. 2) and unrolled a thick aluminium
scroll along the streets (for Street Works III). (For Street Works II, she
laid out a line of aluminium tape to create an atoll out of Manhattan
(fig. 3), a device she would subsequently use indoors.) In Six Years,
Lippard who had participated in Street Works I herself reproduced
a summary of strider's contributions to five of the artist's six Street
Works (fig. 4). Overall, strider's approach as a painter she was
already known as a Pop artist by then involved the simple use of
painting frames: she hung them around the street (where many were
stolen by passers-by) in Street Works I and II, inscribed the words
PIctUre FrAMe on a banner in Street Works III, and built a fifteenfoot frame that visitors walked through on their way into the
Architectural League for the opening of Street Works IV. For Street
Works V, she taped picture frames on the sidewalk for people to walk
into, and for Street Works VI or World Works, she asked passers-by to
hold up a frame as she snapped their portraits with her camera.10
Other participating artists in Street Works, such as Athena tacha or
scott burton, would go on to develop public art projects in cities
across the United states, thus pursuing their desire to take art to the
street, but in permanent rather than temporary forms. though
Perreault mentions urban art in one of his Street Works reports, it
appears that Land Art also known as earth Works would have
been the most obvious point of comparison at the time. As he
explained, some artists making street Works wish to call attention
to the city environment in much the same way as earth Art brings the
natural environment to our attention [PerreAULt 1969-1970].
retrospectively, he has mused that many street Works artists
agreed with him that earth Art was elitist to the extent that it still
does take a considerable amount of cash to visit robert smithson's
Spiral Jetty [PerreAULt 2008].
though some art world friends and acquaintances did come to hunt
down the works, in particular at the official opening of Street Works IV
at the Architectural League, the main audience for the Street Works
consisted largely of other participating artists and random passersby. statements from the organisers stressed their desire to reach an
audience broader than the usual constituency of visitors to art
events and galleries. the new context, they claimed, gave greater
freedom to the artists, while allowing them to witness their audience's reactions immediately. Moreover, according to the Street
Works organisers, the appearance of works at unexpected times
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DeMAterIALIsAtIOns
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Works I (fig. 6), corner, on the street, drift, or going the distance
(for his Situation Using Streets, Walking, Running in Street Works II),
or to stand one's ground and right up your street (for each of his
two contributions to Street Work IV). the diaries that he kept of the
Following Piece, and the pages from this diary that he subsequently
sent out to various friends and art world professionals, certainly
highlighted the narrative drive at the heart of the work. What
Acconci's Street Works demonstrate above all, however, is a shift
from literature to a preoccupation with sight and action, as glancing
in the first work turns to watching and following in the later ones.
Moreover, many of his Street Works focus on his invisible interactions with passers-by, with whom he identifies yet simultaneously
tries to compete, thus objectifying them in what tom McDonough
has described as a libidinal tangle in which pursuer and pursued
[have] lost their clear polarities [McDOnOUgH 2002: 107]. In this way,
Acconci's Following Piece revealed the central dynamic between
public and private that lies at the heart of the street environment,
which shaped and was shaped by Street Works. by putting out their
work in the public arena of the street, the artists involved in Street
Works seemed to have given up all claims to private intention.15 yet,
at the same time, many street Works were so private that in many
cases they remained a secret that could only be perceived after the
fact, through documentation. (Kaltenbach went so far as to contribute an undisclosed secret piece to Street Works IV.) this polarity,
I would argue, is inherent to the very nature of the everyday itself,
which is everywhere to be seen, yet remains illegible.
An Everyday Vocabulary
Maurice blanchot's essay on the everyday, La parole quotidienne,
was initially published in 1962 under the title L'homme de la rue
the man in the street. For blanchot, the everyday is imperceptible or
unseen (inaperu) because it is always there and can never be
enclosed in a panoramic vision [bLAncHOt 1962/1969: 357-358].16
similarly, the man in the street has always seen everything, but is a
witness of nothing not out of cowardice, but rather out of lightness, because he is never really there [bLAncHOt 1962/1969:
362-363]. so when a street Work resists being identified as art, and
thereby neatly filed way, as Perreault wished, and the artist thus
DeMAterIALIsAtIOns
51
fragmentary, the tentative, the insubstantial [grUen 1969]. the timidity of the tentative certainly relates to the shyness of the reticent,
but it is with the insubstantial that I would like to conclude. For the
insubstantial, firstly, could well provide another, more useful term
than the immaterial or the dematerialisation at stake in this essay.
secondly, the insubstantial brings to mind the insignifiant (insignificant) that characterises the everyday according to blanchot. the
insignificant, for blanchot, is without truth, without reality, without
secret, but it is perhaps also the place where all signification is possible [bLAncHOt 1962/69: 357]. this parallel between insignificant
practices and the everyday insignifiant can help us to address, in
conclusion, the politics of the borderline brand of conceptual art
embodied in brecht's scores, Kaprow's activities, street Works, and
other acceptive forms of conceptual art.
In the same way that Lippard and chandler insisted that dematerialised practices could not be bought and sold, Perreault acknowledged
that a political dimension could be read in the simple fact that the
street Work exists outside the gallery-museum economic structure
[PerreAULt 1969-1970]. yet, as Lippard had already realised by the
time Six Years was published, this political project was quickly proved
unsuccessful, because such projects did end up being bought and
sold [LIPPArD 1973: 263-264]. Indeed, as thierry Davila demonstrates
in his brief but masterly history of imperceptibility from Marcel
Duchamp to today, 1969 can be called the year of invisibility in the
United states precisely because it was a particularly rich moment for
public manifestations of an invisible art through clearly identifiable
exhibition strategies that simultaneously relied on and subverted the
commodification of artworks as well as the very mechanisms of the
art world [DAVILA 2010: 147].17
According to Alistair rider, the exhibition curated by Lippard at the
Paula cooper gallery in May and june of 1969 constitutes a clear
example of the failure of dematerialised art to escape from the commercial art world. Lippard's exhibition included, in fact, the same kind
of aluminium tape that castoro had unrolled to create an atoll out of
Manhattan a month earlier in Street Works II: this time, it threatened
to visually crack open the space of the gallery along the floor and the
walls. transposed from the street to the gallery, castoro's Cracking
can be read by rider as epitomising the unfulfilled anti-establishment longings of the moment [rIDer 2008: 149]. According to rider,
an artist such as smithson refused to give in to such evident forms of
research for this essay was made possible by a terra Foundation for American Art
Postdoctoral Fellowship at the smithsonian American Art Museum. I would also like
to thank the artists and poets who kindly responded to my queries and requests
for images: Vito Acconci, rosemarie castoro, cristos gianakos, Abraham Lubelski,
john Perreault, Marjorie strider and Athena tacha.
2
Alloway reviewed both Kaprow's 1966 Assemblage, Environments and
Happenings and his 1969 Days Off, A Calendar of Happenings, which documented
a number of happenings performed in 1969. the two reviews originally published
in Arts Magazine XLI/3 (December 1966-january 1967) and The Nation (20
October 1969) are both included in Allan Kaprow: two Views, in ALLOWAy [1975a].
burnham refers to Allan Kaprow's the Happenings Are Dead: Long Live the
Happenings!, Artforum (March 1966), in bUrnHAM [1968: 35]. the scores/poster
for Six Ordinary Happenings can be found in Allan Kaprow: Art as Life [2007: 207].
DeMAterIALIsAtIOns
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DeMAterIALIsAtIOns
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KAne, Daniel (ed.) [2006]. Don't Ever Get Famous: Essays on New York
Writing after the New York School. London, champaign, Dublin: Dalkey
Archive Press.
KAPrOW, Allan [1966]. Assemblage, Environments & Happenings. new
york: Abrams.
KAPrOW, Allan [1967]. Pinpointing Happenings, Art News 66, rep. in
Essays on the Blurring of Art and Life, ed. jeff Kelley. berkeley, Los
Angeles, new york: University of california Press, 1993, pp.84-89.
KnAPsteIn, gabriele [1999]. George Brecht: Events ber die EventPartituren von George Brecht aus den Jarhren 1959-63. berlin: Wiens
Verlag.
LIPPArD, Lucy and cHAnDLer, john [1968]. the Dematerialization of Art, Art
International, 12:2, February, rep. in LIPPArD [1971: 255-276].
LIPPArD, Lucy [1971]. Changing: Essays in Art Criticism. new york: Dutton.
LIPPArD, Lucy [1973]. Six Years: the Dematerialization of the Art Object from
1966 to 1972. new ed., berkeley, Los Angeles, London: University of
california Press, 1997.
LIPPArD, Lucy [1993]. escape Attempts, in LIPPArD [1973: VII-XII].
McDOnOUgH, tom [2002]. the crimes of the Flneur, October 102, Autumn,
pp.101-122.
PerreAULt, john [1969a]. Art on the street, Village Voice, March 27, pp.17-18.
PerreAULt, john [1969b]. Free Art, Village Voice, May 1, pp.14-15.
PerreAULt, john [1969c]. [review of Street Works III] [untitled extract from
an article], Village Voice, june 5, p.17.
PerreAULt, john [1969d]. street Music, Street Works, supplement to the
magazine 0-9, no6, july, n.p.
PerreAULt, john [1969e]. taking to the street, Village Voice, October 16,
pp.15-16.
PerreAULt, john [1969f]. [review of Street Works V] [untitled extract from
an undated article], Village Voice, [ca. December 1969-january 1970].
Unpaginated press cutting from the Marjorie strider Papers, consulted at
specific Object, new york.
PerreAULt, john [1969-1970]. street Works, Arts, December 1969-january
1970. Unpaginated press cutting from the Marjorie strider Papers.
PerreAULt, john [2008]. street Works in colorado, Artopia: John Perreault's
Art Diary, posted 6 October 2008 at:http://www.artsjournal.com/artopia/
2008/10/street_works_in colorado_libes.html (accessed 16 August 2011).
PerreAULt, john and cOLLIscHAn, judy (eds) [2008]. In Plain Sight: Street
Works and Performances: 1968-1971. Lakewood, cO: the Lab at belmar.
rIDer, Alistair [2008]. Arts of Isolation, Arts of coalition, in DeLL [2008: 132149].
Fig. 1. Poster for Street Works I, 15 March 1969, with map of john Perreault's Street Music I, as
reproduced in 0-9, supplement to no6, july 1969, n.p.
Fig. 2. rosemarie castoro, Untitled contribution to Street Works I, as reproduced in 0-9, supplement to
no6, july 1969, n.p.
Fig. 3. View of Street Works II, 18 April 1969: metal tape from rosemarie castoro, How to Make An Atoll
out of Manhattan Island unrolled by the artist on top of the strip of grass placed by Abraham Lubelski in
front of the First national city bank on 13th street. Photo: rosemarie castoro.
Fig. 4. Marjorie strider, Street Work, 1969. Photograph and summary reproduced in Lucy Lippard, Six
Years: the Dematerialization of the Art Object from 1966 to 1972, London, studio Vista, p.91.
Fig. 5. cristos gianakos, untitled contribution to Street Works III, 25 May 1969.
Fig. 6a. Vito Acconci, A Situation Using Streets, Walking, Glancing, contribution to Street Works I,
15 March 1969: Description and notes.
Fig. 6b. Vito Acconci, A Situation Using Streets, Walking, Glancing, contribution to Street Works I,
15 March 1969: two photographs.