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Participation and Politics at the Dia Art Foundation

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Participation and Politics at the Dia Art Foundation Rearrangements: Participation and Politics at the Dia Art Foundation, 1988-89 A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Vanessa Adair Rounthwaite IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Jane Blocker, Co-Adviser Dr. Jennifer Marshall, Co-Adviser May 2013 © Adair Rounthwaite 2013 ACKNOWLEDGEMENTS Thank you so much to everyone who has helped me with the intellectual, emotional and spiritual work bound up in producing this text. First, thank you to all of my interview subjects for the dissertation, and especially to Doug Ashford, Julie Ault, and Martha Rosler. Engaging with their work and perspectives has been a true privilege, and has driven my work to become stronger. To the University of Minnesota Graduate School and Department of Art History, and the Social Sciences and Humanities Research Council of Canada, for the financial support. Without it, I would not have finished this dissertation as quickly, or as calmly. To my family Leith Hunter and David, Hilary and Meredy Rounthwaite for their different forms of love and support. Also particularly to my mother and my maternal grandmother, Philippa Hunter, for nurturing my interest in art. That interest has taken the form of making art as a child, and writing about it as an adult. To my adviser Jane Blocker, who originally drew me to come to Minnesota, and in that respect changed the course of my life. I have a really deep appreciation for the intense care that Jane invests in every aspect of her work. To my adviser Jennifer Marshall, the unexpected adviser, whose boundless energy and enthusiasm will stand as a lifelong example to me as I attempt to make my way in this field. To Margaret Werry, for “Performance Theory, Performance Studies,” the best i seminar I took in grad school. To Richard Leppert, for the knowledge of Adorno, which I believe will be among my most lastingly useful intellectual resources. To Catherine Asher, whose dedication to teaching has been a key example to me as I go about trying to become a teacher. Also to Cathy and to Rick Asher for their incredible warmth and engagement. Rick and Cathy have given me strong models of how to strive for ethics and stay humorous in a profession that sometimes seems inimical to both. To Steven Ostrow, for working hard to steer a little department through the increasingly choppy waters of a precarious public university. To Ann Waltner and Susannah Smith at the IAS, for believing in my project and providing a supportive environment in which to explore it during my third year. To Niels Niessen, for the huge amount of support we gave each other over the course of six years of graduate education. Though that period of close collaboration has come to an end, I continue to value the ways it has shaped my intellectual landscape. To Melissa Heer, whose incredible insight and openness have been essential in helping me navigate many personal and intellectual challenges. To Andrea Gyenge, whose specifically Canadian wit and analysis have made me feel less uprooted in a foreign place. To all the other friends who have helped me build a sense of community and connection here, including Michelle Baroody, Melissa Geppert, Stephanie Rozman, ii Lauren Deland, Sarita Zaleha, Nicole Conti, Raysh Weiss, Greta Bliss, Thorn Chen, Anna Rosenzweig, Kari Smalkowski, and Bradley Coleman Johnson. To my essential friends in other places: Mia Levin, Lisa Harris, Rachel Colley, Lara Mazurski, and Anđel Starčević. Finally, thank you to the wonderful Erik Esse. Erik arrived relatively late in this process, and has helped to make this final year, which encompassed a lot of anxiety and difficult self-analysis, into a time also filled with joy and excitement. The quality of his insight and support is truly outstanding. iii DEDICATION This dissertation is dedicated to my grandparents, Philippa Doane Hunter, Robin Cyril Adair Hunter, Shelagh Macdonnell Rounthwaite, and Cyril Frederic Thomas Rounthwaite. iv TABLE OF CONTENTS: List of Figures …………………………………………………………………………vi-ix Introduction: Audience Participation c. 1988-89 …………………………………………………………………………1-43 Chapter 1: The Visible Audience in Democracy and If You Lived Here… …………………………………………………………………………44-99 Chapter 2: Politics as Education: Group Material’s “Education and Democracy” ………………………………………………………………………....100-161 Chapter 3: Pedagogy from Participation to Documentation: Martha Rosler’s Collaboration with Homeward Bound …………………………………………………………………………162-224 Chapter 4: How to Collaborate in a Crisis: Group Material Representing AIDS ………………………………………………………………………….225-81 Conclusion ………………………………………………………………………….282-86 Figures ………………………………………………………………………….287-312 Bibliography ………………………………………………………………………….313-30 v LIST OF FIGURES All color installation shots of the exhibitions in Group Material’s Democracy (1988- 89) and Martha Rosler’s If You Lived Here… (1989) were taken at the Soho gallery of the Dia Art Foundation, located at the time at 77 Wooster Street. The images of Democracy were taken by photographer Ken Schless, and of If You Lived Here… by Oren Slor, for the Dia Art Foundation. Please note that the images included in this version of the dissertation have been pixilated to protect the intellectual property of the original copyright holders. Figure 1: Walter de Maria, The Lightning Field, 1977, Dia Art Foundation, Catron County, New Mexico, p. 287. Figure 2: Walter de Maria, New York Earth Room, 1977, Dia Art Foundation, New York City, p. 287. Figure 3: Richard Serra, Torqued Elipses, 1997-98, Dia:Beacon, Beacon, New York, p. 288. Figure 4: Group Material, Democracy, “Politics and Election” exhibition, 1988, p. 288. Figure 5: Martha Rosler, If You Lived Here…, “City: Visions and Revisions” exhibition, 1989, p. 289. Figure 6: “Under New Management” sign originally installed in Group Material’s “Cultural Participation” exhibition, but removed before opening, p. 289. Figure 7: Walter de Maria, The Broken Kilometer, 1979, Dia Art Foundation, New York City, p. 290. Figure 8: James Turrell, Roden Crater, 1979 to present, Dia Art Foundation, Flagstaff, Arizona, p. 290. Figure 9: “Education and Democracy” roundtable meeting, 1988, Dia Art Foundation Mercer Street offices. Participants from left to right: Judge Bruce Wright, Julie Ault, Felix Gonzalez-Torres, p. 291. Figure 10: “AIDS & Democracy: A Case Study” roundtable meeting, 1988, Dia Art Foundation Mercer Street offices. Participants from left to right: Maria Maggenti, Julie Ault, Doug Ashford, Felix Gonzalez-Torres, p. 291. vi Figure 11: Group Material, Democracy, “Education and Democracy” exhibition, 1988. Photo by Doug Ashford, p. 292. Figure 12: Group Material, Democracy, “Education and Democracy” exhibition, 1988, p. 292. Figure 13: Group Material, Democracy, “Education and Democracy” exhibition, 1988, p. 293. Figure 14: Group Material, Democracy, “Education and Democracy” exhibition, 1988, p. 294. Figure 15: Group Material, Democracy, “Education and Democracy” exhibition, 1988, p. 294. Figure 16: Group Material, Democracy, “Education and Democracy” exhibition, 1988, p. 295. Figure 17: Group Material, Democracy, “Education and Democracy” exhibition, 1988, p. 295. Figure 18: Group Material, Democracy, “Education and Democracy” exhibition, 1988, p. 296. Figure 19: Group Material, Democracy, “Education and Democracy” exhibition, 1988, p. 297. Figure 20: Martha Rosler, If You Lived Here Still, 2009, e-flux, New York, p. 297. Figure 21: Martha Rosler, If You Lived Here…, “Homeless: The Street and Other Venues” exhibition, 1989, p. 298. Figure 22: Martha Rosler, If You Lived Here…, “Homeless: The Street and Other Venues” exhibition, 1989, p. 298. Figure 23: Martha Rosler, If You Lived Here…, members of Homeward Bound group posed in the “Homeless: The Street and Other Venues” exhibition, 1989, p. 299. Figure 24: Martha Rosler, If You Lived Here…, members of Homeward Bound group posed in the “Homeless: The Street and Other Venues” exhibition, 1989, p. 299. vii Figure 25: Martha Rosler, If You Lived Here…, members of Mad Housers group installing a shelter in the “Homeless: The Street and Other Venues” exhibition, 1989, p. 300. Figure 26: Martha Rosler, If You Lived Here…, “Homeless: The Street and Other Venues” exhibition, 1989, p. 301. Figure 27: Martha Rosler, images from The Bowery in Two Inadequate Descriptive Systems, 45 gelatin silver prints of text and images on 24 backing boards, 1974-75, p. 301. Figure 28: Martha Rosler, image from Bringing the War Home: House Beautiful, photo collage series, 1967-72, p. 302. Figure 29: Group Material, Democracy, “AIDS & Democracy: A Case Study” exhibition, 1988-89, p. 302. Figure 30: Group Material, Democracy, “Cultural Participation” exhibition, 1988, p. 303. Figure 31: Gran Fury, RIOT, 1988, installed as part of Group Material, Democracy, “AIDS & Democracy: A Case Study” exhibition, 1988-89, p. 303. Figure 32: General Idea, AIDS (1987), silkscreen wallpaper, various dimensions, and AIDS (1988), acrylic on canvas. Installation view, p. 304. Figure 33: Gran Fury, Art Is Not Enough, 1988, offset lithography poster, p. 304. Figure 34: Group Material, Democracy, “AIDS & Democracy: A Case Study” exhibition, 1988-89, p. 305. Figure 35: Group Material, Democracy, “AIDS & Democracy: A Case Study” exhibition, 1988-89, p. 305. Figure 36: Group Material, Democracy, “AIDS & Democracy: A Case Study” exhibition, 1988-89, p. 306. Figure 37: Gran Fury, All People With AIDS Are Innocent, 1988, offset lithography poster, p. 306.
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