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Artist Project Spaces, 2003 to 2016 Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2021 Beyond the Social: Artist Project Spaces, 2003 to 2016. Clare L. van Loenen Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Art Practice Commons, Contemporary Art Commons, Museum Studies Commons, and the Theory and Criticism Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/6654 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Beyond the Social: Artist Project Spaces, 2003 to 2016. A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by Clare van Loenen Master of Arts, Museum Studies, University of Leicester, UK, 1997 Post Graduate Certificate of Education, University of Cambridge, UK, 1993 Bachelor of Arts (Honors), History of Art with History, University of Bristol, UK, 1992 Co-Directors: Eric Garberson, Associate Professor, Department of Art History, School of the Arts, and Hope Ginsburg, Associate Professor, Art Foundation Program, and Department of Painting and Printmaking, School of the Arts. Virginia Commonwealth University Richmond, Virginia Ó Copyright Clare van Loenen 2021 All Rights Reserved Acknowledgments Right up to the last word, my cohort on the Media, Art, and Text program: Paula Talero ÁlvareZ, Beth Collins, Allison Dyche, Justin Greene, Dawn Johnson, Alex Jones, Francis Longaker, Frankie Mastrangelo, Megan Ratliff, Andrew Spencer, and Tracy Stonestreet, who hit all those academic milestones with (or slightly ahead of) me. You are my American family. My writing and accountability guides in coffee spots, back porches, and Zoom: Caroline Hoover, Christine Stanciu, Tracy Stonestreet, and Sharon Zumbrunn My Media, Art, and Text Program Director, Eric Garberson, who guided me with patient pragmatism, sharp intelligence, and dry humor, towards academic rigor. Thank you. My committee advisors, who proved both the prompt and the final word in this process. Your practice, focus and insight motivated and sustained me, Hope Ginsburg, Emma Mahony, Jenny Rhee, and Stephanie Smith. The artist and academic reference points in my hometown (Richmond, VA): Celeste Fetta, John Freyer, Ashley Hawkins, Maurice Jackson, Massa Lemu, Giulia Pacini, and Emily Smith. The dogged and demanding editorial support of Susan Barstow, Laura Holliday, Emma Mahony, Andrew Spencer, Sala Sihombing, and Tracy Stonestreet. Around Machine Project, the extraordinary talents of Mark Allen, Asher Hartman, Lisa Anne Auerbach, Zut Lorz, Lucas Wrench, Ava Bromberg, and Joel Kyack. At Elsewhere, my much-missed Southern Constellation cohort (RES101)—Kevin Brophy, Josh Franco, Diana Laurel Caramat, Alma Levia, Rosa Nussbaum, and Michelle Lisa Polissaint—plus the remarkable past and present Elsewhere team, including Jennie Carlisle, Emily Ensminger, Matthew Giddings, Jesse Hoyle, Travis Laughlin, Kerry Mubaarak, Amelia Nura, Gui Villalba Portel, Avery Rose, George Scheer, Stephanie Sherman, Zach Whitworth, and Sarah Witt. From Mess Hall, all thanks to Salem Collo-Julin, Brett Bloom, Ava Bromberg, Marc Fischer, Bonnie Fortune, and Lora Lode for the generous conversations and archives shared in Chicago garages, Indiana farmers markets, and Hollywood studios. The best family support team that began with Jasmine Calvert and continues with Mitch Crowder, James Davis, Tegan Flowers, Patrick Gegan, Ethan & Shannon Lindbloom, Heather Mullins Crislip, Hope Norman, Julietta Singh, Nathan SnaZa, and Candace Stafford. My home family, Marcie and Juno, who grew up through this process and whose mock boredom could win Oscars, plus Peter Taffs, of course. From the very beginning, my parents, Daphne and Nico, who did not get to go to college, but took me to arboretums after school, far too many cathedrals, the gemstone scratch patch, and an open-air museum moved brick by brick. This is what you started. ii Table of Contents Abstract ............................................................................................................................................ v List of Illustrations ........................................................................................................................ vii Chapter One. Beyond the Social ...................................................................................................... 1 1. Introduction ............................................................................................................................. 1 2. Core terms and research questions .......................................................................................... 2 3. Art historical and philosophical context .................................................................................. 6 4. OrganiZational, museological, and archival context .............................................................. 16 5. Method and Overview ........................................................................................................... 27 Chapter Two. Machine Project ..................................................................................................... 33 Part 1 .......................................................................................................................................... 33 Part 2 – OrganiZational Turns .................................................................................................... 43 i. The turn towards the socially administrative in 2005 ......................................................... 45 ii. The turn towards an organiZational pedagogy in 2008 ..................................................... 51 iii. The turn towards a participatory archive in 2012. ............................................................ 59 iv. 2016 .................................................................................................................................. 65 Part 3 – Principles of Practice ................................................................................................... 66 A. Humor ............................................................................................................................... 67 B. The Overheard .................................................................................................................. 73 C. Empathy ............................................................................................................................ 81 Conclusion ................................................................................................................................. 88 Chapter Three. Elsewhere .............................................................................................................. 89 Part 1 .......................................................................................................................................... 89 Part 2 – OrganiZational Turns .................................................................................................. 107 i. An archivally participative turn, 2003 to 2004 ................................................................. 113 ii. A socially cooperative turn, 2007 to 2008. ..................................................................... 119 iii. An administratively instituent turn, 2011 to 2012 .......................................................... 121 iv. 2016 ................................................................................................................................ 125 Part 3 – Principles of Practice ................................................................................................. 127 A. The Non-Abject .............................................................................................................. 128 B. Memory Liveness ............................................................................................................ 134 C. The Hyper-local .............................................................................................................. 138 Conclusion ............................................................................................................................... 142 Chapter Four. Mess Hall .............................................................................................................. 144 Part 1 ........................................................................................................................................ 144 Part 2 – OrganiZational Turn ................................................................................................... 163 i. First keyholder wave, 2003 to 2007 ................................................................................. 166 ii. Second keyholder wave, 2008 to 2013 ............................................................................ 170 Part 3 – Principles of Practice ................................................................................................. 176 iii A. Free ................................................................................................................................. 178 B. The Unpredictable ..........................................................................................................
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