[-empyre-] Nonsite as fashion trend
John Haber
jhaber at haberarts.com
Mon Jan 14 02:37:13 EST 2008
As we have seen thus far, nonsite and site-specific art call in question
distinctions critical to traditional definitions of art. This post,
however, will present some challenges to their critical potential. Some
echo a typically conservative criticism of contemporary art, as
politically overloaded, self-indulgent, or in need of a return to beauty
and common sense. On the other hand, that co-exists with some more
useful criticism, related more specifically to site, nonsite, and
gallery and museum practices. I don't want to leave you with just the
shallow part, so pardon me for a longer post, and thus just the one today.
As so many have insisted, site and nonsite call in question the
distinctions between process and product, the art object and its
destruction, artist and audience, nature and culture, and the gallery as
opposed to locations not so uniquely devoted to experiencing or selling
art. And again, this critique has continued relevance -- and not just to
digital media. It acts itself out through prestigious works,
installations, and institutions now. When Exit Art reopened on Tenth
Avenue in 2003 the same day as artists set to work, with "The
Reconstruction," it was asking where the work of art ends and the art
institution begins. Not quite five years later, the arrow of time has
become art's fashion trend.
That overwhelming presence, however, points to a problem that has faced
every version of Modernism or Postmodernism: what sustains a critique --
especially a political or historical critique couched in relatively
abstract terms of sculpture, time, and space? "Has Modernism failed?"
Either it succeeds or it fails, and either way it loses its relevance
and stands marked by failure. The paradox of art after the end of art,
with higher and higher prices, has itself become a cliché. Yet it
is also a seriously unfair cliché, since "failure" presupposes
art as goal directed, with millenarian goals.
One such familiar complaint about contemporary art, by Suzi Gablik, ends
in an explicit plea for transcendent values. I keep returning to art,
like to philosophy, without expecting any. However, the notions of site
and nonsite run into particular dilemmas. These parallel the paradox
surrounding a temporal disruption: the new terms mark a rupture in the
gallery walls, one in turn predicated on their existence in the first
place. The growth of noisy, pricy installations shows the limits of that
assumption now. When digital artists such as John F. Simon, Jr., or
Casey Reas make some of their best work available free online, they can
seem less like pioneers than a rearguard action.
First, nonsite becomes less disruptive once galleries have learned to
absorb anything -- and the more the better. How better to legitimize the
artist as mythmaker than by creative destruction of a gallery? How
better to grab the viewer hesitating between the hundreds of Chelsea
galleries than by literally and figuratively making a scene? How better
to create enough art objects to keep up with the market? Second,
galleries and museums now also routinely sponsor earthworks and other
art off-site, from the Lower Manhattan Cultural Council to Dia in
America's south and west. Third, galleries have become less a site than
a venue in global markets, with multinational locations, online images,
and booths in the almost unending art fairs.
New media can partake of all these. It brings remote images and new
physical materials into galleries, extends a gallery's sponsorship
elsewhere, and makes both an emblem of the age of globalization. When
Emily Jacir projects convenience stores in the Middle East and America
side by side, or when Chen Chieh-Jen populates abandoned factories in
Taiwan, they make globalization explicit. It also has even less
resemblance to Smithson's geometric bins for rubble too heavy for
individuals to break. Not coincidentally, video is aspiring to higher
and higher production values. I, for one, found it disconcerting when
the black refugees washed up on shore in Isaac Julien's latest video
seemed to belong to the bright colors, high definition, open vistas, and
languorous pace of a commercial for European travel.
I do not mean that Jean Baudrillard's vision -- itself too apocalyptic
and too reassuringly a closed ending -- has come true, even if a world
of images has appeal for new media. If anything, the art object has
returned with a vengeance. Nor do I mean that art has sold out to
commodity culture. Rather, capitalism, artists, and new media are all
powerful agents of transformation, and when they happen to work
simultaneously, things get hairy. Once a gallery extends everywhere and
nowhere, then, has the concept of nonsite found its fulfillment, or has
the distinction between site and nonsite simply gone out the window? In
a kind of conclusion, I shall argue that the question itself has given
the concepts at hand new relevance.
More information about the empyre
mailing list