Framed Spaces: Photography and Memory in Contemporary Installation Art

Notes

Introduction 1. Julie H. Reiss, From Margin to Center: The Spaces of Installation Art (Cambridge , MA: MIT Press, 1999), xv–xix. 2. Joan Gibbons, Contemporary Art and Memory: Images of Recollection and Remembrance (London: I.B. Tauris, 2009), 5. The art historian Joan Gibbons suggests that the interest in memory coincides with a shift from totalizing epistemologies of modernism to the more fragmented and subjective modalities of postmodernism. 3. Amelia Jones, Body Art: Performing the Subject (Minneapolis: University of Minnesota Press, 1998), 33. 4. Miwon Kwon, “One Place after Another: Notes on Site-Specificity,” in Space, Site, Intervention: Situating Installation Art, ed. Erika Suderberg (Minneapolis: University of Minnesota Press, 2000), 52. 5. Walter Benjamin, Illuminations, trans. Harry Zohn (New York: Schocken Books, 1969), 159–60. 6. Mary Ann Doane, The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Cambridge, MA: Harvard University Press, 2002), 13. 7. Both Joan Gibbons and Lisa Saltzman cite this passage in Proust as well. 8. Doane, Emergence of Cinematic Time, 9. 9. Henri Bergson, Creative Evolution, trans. Arthur Mitchell (1911; repr., New York: Henry Holt, 1926), 305–6. Bergson compares it directly to film. 10. Craig Ireland, The Subaltern Appeal to Experience: Self-Identity, Late Modernity, and the Politics of Immediacy (Montreal: McGill-Queen’s University Press, 2004), 63–66. 11. The essay was reprinted in Clement Greenberg’s Art and Culture: Critical Essays (1961; repr., Boston: Beacon Press, 1989), 6. Greenberg writes, “This notes 210 NOTES TO INTRODUCTION constraint, once the world of common extraverted experience has been renounced , can only be found in the very processes or disciplines by which art and literature have already imitated the former. These themselves become the subject matter of art and literature.” 12. Greenberg, Art and Culture, 157. 13. Michael Fried, “Art and Objecthood,” in Art and Objecthood: Essays and Reviews (Chicago: University of Chicago Press, 1998), 168. 14. Barbara Clausen et al., After the Act: The (Re)Presentation of Performance Art (Vienna: Museum Moderner Kunst Stiftung Ludwig Wien, 2007), 117. 15. Nicolas Bourriaud, Relational Aesthetics (Dijon, France: Le Presses du Réel, 1998). 16. Claire Bishop, Installation Art: A Critical History (New York: Routledge, 2005). 17. Claire Bishop, “Antagonism and Relational Aesthetics,” October 110 (Fall 2004): 51–79. 18. Jones, Body Art, 35. Includes a direct quotation from Jacques Derrida, Of Grammatology, trans. Gayatri Spivak (Baltimore: Johns Hopkins University Press, 1978), 163. See also Douglas Davis, “Performance Photography,” Connoisseur (March 1985):144–45; Anne M. Wagner, “Performance, Video, and the Rhetoric of Presence,” October 91 (Winter 2000): 59–80. 19. Jones, Body Art, 37. 20. Clausen et al., After the Act, 7. 21. Clausen et al., After the Act, 19. 22. Martha Buskirk, The Contingent Object of Contemporary Art (Cambridge, MA: MIT Press, 2005), 59–107. 23. For instance, Philip Auslander in Clausen et al., After the Act, 25, and Babette Mangolte in Clausen et al., After the Act, 38. 24. For a more comprehensive account of the varieties of memory practice in contemporary art, see Gibbons, Contemporary Art and Memory. 25. Craig Owens, Beyond Recognition, ed. Scott Bryson et al. (Berkeley, CA: University of California Press, 1992), 40–87. 26. Owens, Beyond Recognition, 56–58. 27. James Meyer, “The Functional Site; or, The Transformation of Site-Specificity,” in Space, Site, Intervention: Situating Installation Art, ed. Erika Suderberg (Minneapolis : University of Minnesota Press, 2000), 25. 28. Nick Kaye, Site-Specific Art: Performance, Place, and Documentation (London: Routledge, 2000), 1–2. 29. Kwon, “One Place after Another,” 43. NOTES TO INTRODUCTION 211 30. Kevin Melchionne, “Rethinking Site-Specificity: Some Critical and Philosophical Problems,” Art Criticism 12, no. 2 (1997): 40. Melchionne published an article that elaborated on the various types or degrees of site-specificity. One was “historical/political” and referred to works that recover history or political aspects of a site. 31. Fredric Jameson, “Postmodernism and Utopia,” in Utopia/Post-Utopia (Boston: Institute of Contemporary Art, 1988), 14. 32. Jameson is not the only one who describes time in the late twentieth century this way. Baudrillard and Michel Foucault also describe time in these terms. Baudrillard and Foucault see the 1960s as a time of endings in which time has become materialized or spatialized. 33. Jameson, “Postmodernism and Utopia,” 156. 34. Jameson, “Postmodernism and Utopia,” 14. 35. Jean Baudrillard, Simulacra and Simulation, trans. Sheila Faria Glaser (1981; repr., Ann Arbor: University of Michigan Press, 1994), 8. 36. Grant Kester, “The Rise and Fall of...