This book traces the origins of the artistic impulses to use the earth as a medium and to locate works in remote sites, far from familiar art contexts. In doing so, Ends of the Earth will challenge the ideas that Land art was primarily a North American phenomenon, that it was foremost a sculptural practice, and that it sought an articulation outside the confines of the gallery. Essays by leading scholars will discuss the origins of Land art, its intrinsic connection to media, the attraction of wastelands, and the problems inherent in a historical evaluation of site-specific works. The book will also include a series of reflections from the most important curators, critics, and dealers of the time. A companion volume to the first large-scale exhibition on Land art, this book promises to be the definitive catalogue on the subject.

Publisher Soichiro Fukutake and his heirs have created an oasis on the island of Naoshima in the Seto Inland Sea, off the west coast of Japan, where visitors can expect to have a unique art experience. The dock for the ferry was designed by the Tokyo-based architects SANAA. The Chichu Art Museum, by Tadao Ando, contains an incomparable selection of works by Walter de Maria, James Turrell, and Claude Monet. Ando's other meditative buildings house pieces by Jackson Pollack, Cy Twombly, Bruce Nauman, Richard Long, and David Hockney. Carefully restored traditional Japanese buildings serve as venues for art projects, such as Hiroshi Sugimoto's unusual installations. Roaming across the island, one can discover astonishing Land Art, such as the Cultural Melting Bath by Cai Guo-Qiang or the man-sized pumpkin by Yayoi Kusama. The ensemble is presented in photographs by Naoya Hatakeyama and Osamu Watanabe that make palpable Naoshima Island's special genius loci.

Taking its theoretical cues from Hal Foster and Miwon Kwon, the text discusses theoretical aspects of the relationship between art and society in the so-called ”ethnographic turn”. The discussion is related to examples of art projects mentioned by other contributions in this issue, and concludes with a call for critical reflections on the part of Western museums in their attempt to ”represent” art from Asian countries. Note: Japanese and Chinese names of artists in this article are written in the order surname – first name

April 01 2008 Feminist Time: A Conversation Rosalyn Deutsche, Rosalyn Deutsche Rosalyn Deutsche is an art historian and critic who teaches at Barnard College. She is the author of Evictions: Art and Spatial Politics (MIT Press, 1996). She has published extensively and lectured internationally on art and democracy, public space, and feminist theory. Search for other works by this author on: This Site Google Scholar Aruna D'Souza, Aruna D'Souza Aruna D'Souza is Assistant Professor of Art History and Women's Studies at Binghamton University. Her book, Cezanne's Bathers: Biography and the Erotics of Paint, was published recently by Penn State University Press (2008). She is currently a fellow at the Clark Art Institute. Search for other works by this author on: This Site Google Scholar Miwon Kwon, Miwon Kwon Miwon Kwon is Associate Professor in the Department of Art History at University of California Los Angeles. She is the author of One Place after Another: Site-Specific Art and Locational Identity (MIT Press, 2002). Search for other works by this author on: This Site Google Scholar Ulrike Müller, Ulrike Müller Ulrike Müller is an artist living and working in New York and Vienna, Austria. She is a co-editor of the queer feminist journal LTTR. Search for other works by this author on: This Site Google Scholar Mignon Nixon, Mignon Nixon Mignon Nixon is Professor of Art History at the Courtauld Institute of Art, University of London, and an editor of October. Her publications include Fantastic Reality: Louise Bourgeois and a Story of Modern Art (MIT Press/October Books, 2005). Search for other works by this author on: This Site Google Scholar Senam Okudzeto Senam Okudzeto Senam Okudzeto is a transnational artist, writer, and scholar. Dividing the year between projects in Basel, London, New York, and Accra, she is the founder of the NGO Art in Social Structures, serves on the editorial board of Art Journal, and is a member of the artists' collective Tropical Goth. Search for other works by this author on: This Site Google Scholar Author and Article Information Rosalyn Deutsche Rosalyn Deutsche is an art historian and critic who teaches at Barnard College. She is the author of Evictions: Art and Spatial Politics (MIT Press, 1996). She has published extensively and lectured internationally on art and democracy, public space, and feminist theory. Aruna D'Souza Aruna D'Souza is Assistant Professor of Art History and Women's Studies at Binghamton University. Her book, Cezanne's Bathers: Biography and the Erotics of Paint, was published recently by Penn State University Press (2008). She is currently a fellow at the Clark Art Institute. Miwon Kwon Miwon Kwon is Associate Professor in the Department of Art History at University of California Los Angeles. She is the author of One Place after Another: Site-Specific Art and Locational Identity (MIT Press, 2002). Ulrike Müller Ulrike Müller is an artist living and working in New York and Vienna, Austria. She is a co-editor of the queer feminist journal LTTR. Mignon Nixon Mignon Nixon is Professor of Art History at the Courtauld Institute of Art, University of London, and an editor of October. Her publications include Fantastic Reality: Louise Bourgeois and a Story of Modern Art (MIT Press/October Books, 2005). Senam Okudzeto Senam Okudzeto is a transnational artist, writer, and scholar. Dividing the year between projects in Basel, London, New York, and Accra, she is the founder of the NGO Art in Social Structures, serves on the editorial board of Art Journal, and is a member of the artists' collective Tropical Goth. Online ISSN: 1536-0105 Print ISSN: 1526-3819 © 2008 by Grey Room, Inc. and the Massachusetts Institute of Technology.2008 Grey Room (2008) (31): 32–67. https://doi.org/10.1162/grey.2008.1.31.32 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Rosalyn Deutsche, Aruna D'Souza, Miwon Kwon, Ulrike Müller, Mignon Nixon, Senam Okudzeto; Feminist Time: A Conversation. Grey Room 2008; (31): 32–67. doi: https://doi.org/10.1162/grey.2008.1.31.32 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsGrey Room Search Advanced Search This content is only available as a PDF. © 2008 by Grey Room, Inc. and the Massachusetts Institute of Technology.2008 Article PDF first page preview Close Modal You do not currently have access to this content.

January 01 2005 Promiscuity of Space: Some Thoughts on Jessica Stockholder's Scenographic Compositions Miwon Kwon Miwon Kwon Search for other works by this author on: This Site Google Scholar Author and Article Information Miwon Kwon Online Issn: 1536-0105 Print Issn: 1526-3819 © 2005 Grey Room, Inc. and Massachusetts Institute of Technology2005 Grey Room (2005) (18): 52–63. https://doi.org/10.1162/1526381043320778 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Miwon Kwon; Promiscuity of Space: Some Thoughts on Jessica Stockholder's Scenographic Compositions. Grey Room 2005; (18): 52–63. doi: https://doi.org/10.1162/1526381043320778 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentAll JournalsGrey Room Search Advanced Search This content is only available as a PDF. © 2005 Grey Room, Inc. and Massachusetts Institute of Technology2005 Article PDF first page preview Close Modal You do not currently have access to this content.

July 01 2004 DER BEVÖLKERUNG: A Conversation Rosalyn Deutsche, Rosalyn Deutsche Search for other works by this author on: This Site Google Scholar Hans Haacke, Hans Haacke Search for other works by this author on: This Site Google Scholar Miwon Kwon Miwon Kwon Search for other works by this author on: This Site Google Scholar Author and Article Information Rosalyn Deutsche Hans Haacke Miwon Kwon Online Issn: 1536-0105 Print Issn: 1526-3819 © 2004 Grey Room, Inc. and Massachusetts Institute of Technology2004 Grey Room (2004) (16): 60–81. https://doi.org/10.1162/1526381041887448 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Rosalyn Deutsche, Hans Haacke, Miwon Kwon; DER BEVÖLKERUNG: A Conversation. Grey Room 2004; (16): 60–81. doi: https://doi.org/10.1162/1526381041887448 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsGrey Room Search Advanced Search This content is only available as a PDF. © 2004 Grey Room, Inc. and Massachusetts Institute of Technology2004 Article PDF first page preview Close Modal You do not currently have access to this content.

Where, exactly, is the in site-specific, a term frequently bandied about in discussions of contemporary art but often without specific definition? Is the a geographical area, a representation of that area, its experience, an grid, a network, a community formation? And how have different formulations been advanced over the last few decades and figured within recent art? It is the central accomplishment of Miwon Kwon's text, lucidly written and cogently argued, to historicize and theorize this elusive term, specifically looking at the way site has operated within postMinimalist and neo-Conceptual artistic practices as well as in public art. Through its lens we gain a new critical purchase on recent practices-ones little considered-that not only are clarified through its rich analysis, but also become suggestive of a new paradigm of contemporary art. The title of Kwon's book, One Place after Another, alludes to the experience of contemporary urban life and its built spaces, where we witness growing homogenization on a global scale, a process determined by advanced capitalist expansion. Kwon's text, however, is less an analysis of these developments than a systematic engagement with the ways in which advanced art has examined, critically mimicked, or attempted to counter them in recent years. Site first emerged in the late I96os as critically reactive to one place after another, as a way to resist complicity with market forces that would reduce objects to mobile commodities floating through the idealist white cube of the gallery space. Certain artists, like Richard Serra, responded by grounding the sculptural object irrevocably in the geography of its site, exemplifying what Kwon terms phenomenological site the beginning of her genealogical study. By training attention on the experience of the physical characteristics of a particular place, Serra differentiated it from others and contextualized the object in turn. This model, however, soon proved inadequate as Conceptualists began to understand site and viewership as not phenomenologically innocent or universal-as Minimalism often supposed-but socially and institutionally determined. Artists such as Marcel Broodthaers, Daniel Buren, Hans Haacke, Robert Smithson, and Mierle Laderman Ukeles consequently investigated the frame of the gallery as intersecting with larger cultural and economic forces, inaugurating institutional site specificity. While the parameters of (post-)Minimalism and the institutionally critical terms of Conceptual art have each been treated by artists and art historians,' it is Kwon's achievement to have clarified this genealogy, which ends with her own theorization of the discursive site specificity that characterizes contemporary art. Discursive site specificity, Kwon explains, develops out of institutionally critical concerns but moves increasingly toward the outside world and everyday life, with aesthetic and art historical terms as secondary (24). Here the locational anchor lies in the realm of sociopolitical issues, as the locus of site migrates from geography to formations. Kwon lists ecological crisis, homelessness, AIDS, homophobia, racism, and sexism as variously sited in the work of KrysztofWodiczko, Gran Fury, Renee Green, Mark Dion, and Andrea Fraser, among others. Discourse displaces mediums and geographies as the defining quality of site in contemporary art. For instance, Tom Burr and John Lindell both work across various mediums and between

This book of essays and images is the long-awaited volume extending from the exhibition Cultural Economies: Histories from the Alternative Arts Movement, NYC, shown at The Drawing Center from February 26 through April 6, 1996. -- p. vii.

It occurred to me some time ago that among many of my art and academic friends, the success and viability of one's work is now measured in proportion to the accumulation of frequent flyer miles. The more we travel for work, the more we are called upon to provide institutions in other parts of the country and the world with our presence and services; the more we give into the logic of nomadism, one could say, as pressured by a mobilized capitalist economy, the more we are made to feel wanted, needed, validated, and relevant. It seems our very sense of self-worth is predicated more and more on our suffering through the inconveniences and psychic destabilizations of ungrounded transience, of not being at home (or not having a home), of always traversing through elsewheres. Whether we enjoy it or not, we are culturally and economically rewarded for enduring the "wrong" place. It seems we're out of place all too often.

Site specificity used to imply something grounded, bound to the laws of physics. Often playing with gravity, site-specific works used to be obstinate about presence, even if they were materially ephemeral, and adamant about immobility, even in the face of disappearance or destruction. Whether inside the white cube or out in the Nevada desert, whether architectural or landscape-oriented, site-specific art initially took the as an actual location, a tangible reality, its identity composed of a unique combination of constitutive physical elements: length, depth, height, texture, and shape of walls and rooms; scale and proportion of plazas, buildings, or parks; existing conditions of lighting, ventilation, traffic patterns; distinctive topographical features. modernist sculpture absorbed its pedestal/base to sever its connection to or express its indifference to the site, rendering itself more autonomous and selfreferential, and thus transportable, placeless, and nomadic, then site-specific works, as they first emerged in the wake of Minimalism in the late 1960s and early 1970s, forced a dramatic reversal of this modernist paradigm.1 Antithetical to the claim If you have to change a sculpture for a site there is something wrong with the sculpture,2 site-specific art, whether interruptive or assimilative, gave itself up to its environmental context, being formally determined or directed by it.3

Hal Foster: The editors of October have decided to begin a series of roundtables in order to explore some of the problems that appear to confront art, theory, and politics with a special urgency in this country today. Recent political events, socioeconomic developments, and institutional changes have transformed the frames in which these practices are enacted and understood. The same is true of historical work in modernist studies, and in future issues we hope to address controversial new readings there as well. For this first conversation we focus on a tendency that to some of us appears pervasive in contemporary art and criticism alike: a certain turn away from questions of representation to iconographies of content; a certain turn from a politics of the signifier to a politics of the signified. For purposes of specificity we concentrate on the art exhibited at the 1993 Whitney Museum Biennial, and we do so aware of the great difficulty of a critique that wishes to question some tendencies evident in the show but not to abet its many reactive detractors. In this conversation Benjamin Buchloh, Silvia Kolbowski, Rosalind Krauss, and I are joined by Miwon Kwon, a doctoral candidate in architectural history and theory at Princeton University and an editor of the journal Documents.