By Miwon Kwon
Site-specific paintings emerged within the past due Sixties in response to the turning out to be commodification of paintings and the present beliefs of art's autonomy and universality. through the Nineteen Seventies and Eighties, as site-specific paintings intersected with land artwork, method artwork, functionality paintings, conceptual artwork, install paintings, institutional critique, community-based artwork, and public paintings, its creators insisted at the inseparability of the paintings and its context. in recent times, besides the fact that, the presumption of unrepeatability and immobility encapsulated in Richard Serra's well-known dictum "to get rid of the paintings is to ruin the paintings" is being challenged by means of new versions of web site specificity and alterations in institutional and industry forces. One position after Another deals a serious historical past of site-specific paintings because the past due Nineteen Sixties and a theoretical framework for reading the rhetoric of aesthetic vanguardism and political progressivism linked to its many variations. knowledgeable via city conception, postmodernist feedback in artwork and structure, and debates referring to id politics and the general public sphere, the booklet addresses the siting of paintings as greater than an inventive challenge. It examines website specificity as a fancy cipher of the risky dating among place and identification within the period of past due capitalism. The publication addresses the paintings of, between others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee eco-friendly, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.
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