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From Margin to Center: the Spaces of Installation

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From Margin to Center: the Spaces of Installation “Reiss offers a lucid argument for rethinking ‘Installation art’ and its challenge to the repressive and restrictive terms of the modernist art object. Her revisionism is a refreshing departure from the essentially formalist canon that continues to dis- tort the meaning and implications of the radical aesthetics of the 1960s.” —Maurice Berger, Senior Fellow, The Vera List focus is installations created in New Center for Art & Politics, New School for Social Reiss York City—which has a particularly Research Julie H. Reiss rich history of Installation art— Julie H. Reiss beginning in the late 1950s. She takes Margin From “Reiss’s narration of the progress of Installation From us from Allan Kaprow’s 1950s envi- art from alternative to mainstream is clear, well ronments to examples from minimal- Margin researched, and cogently argued.This book fills a ism, performance art, and process art toCenter void in the field of contemporary art history.” to establish Installation art’s autono- —Tom Finkelpearl, Program Director, P.S. 1 From The Spaces of Installation Art my as well as its relationship to other Contemporary Art Center movements. to Center Margin Recent years have seen a surge of Book and jacket design by Jean Wilcox. Unlike traditional art works, Installa- “From Margin to Center is a much-needed first his- interest in the effects of exhibition Front cover: Installation view of the exhi- tion art has no autonomous existence. tory of the development of Installation art in space, curatorial practice, and institu- bition A Sculpture by Herbert Ferber to Create It is usually created for a particular America. Reiss’s research foregrounds the impor- to tional context on the spectator.The an Environment. Papier-mâché, 12 x 24 feet, Center exhibition space, and its meaning is tance of alternative exhibition spaces in New history of Installation art—of all art diameter 15 feet. Whitney Museum of dependent on site and witness. Instal- York in the late 1960s and 1970s and highlights forms, one of the most defiant of for- American Art, 10 March through 23 April lation art originated as a radical art the significance of these spaces as centers for The Spaces of Installation Art malist tenets—sheds considerable 1961. Photograph by Eric Pollitzer. form presented only at alternative art political and aesthetic exchange, exploration, and light on the issues raised by this shift Courtesy Jim Strong. Back cover: Robert spaces; its assimilation into mainstream experimentation. The book’s important docu- of critical focus from isolated art Morris, Passageway, 1961. Painted plywood, museums and galleries is a relatively mentation of artworks and performances from works to art experienced in a partic- 8 x 50 feet. Photograph courtesy of the recent phenomenon. The move of this period reignites and informs consideration of ular context. Solomon R. Guggenheim Museum, New Installation art from the margin to the the frame and context for artistic practice in Julie H. Reiss is a New York City- York. © 2000 Robert Morris Archives/ center of the art world has had far- today’s global cultural community.” based independent scholar and art Artists Rights Society (ARS), New York. reaching effects on the works created —Jennifer R. Gross, Curator of Contemporary Art, historian. and on museum practice. Isabella Stewart Gardner Museum, Boston This is the first book-length study The MIT Press Massachusetts Institute of Technology of Installation art. Julie Reiss concen- Cambridge, Massachusetts 02142 http://mitpress.mit.edu trates on some of the central figures in its emergence, including artists, REIFH critics, and curators. Her primary ,!7IA2G2-bibjgj!:t;K;k;K;k 0-262-18196-7 From MargintoCenter M The MIT Press Cambridge, Massachusetts London, England Julie H. Reiss From MargintoCenter The Spaces of Installation Art © 1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. This book was set in Bembo by Mary Reilly and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Reiss, Julie H. From margin to center : the spaces of installation art / Julie H. Reiss. p. m. Includes bibliographical references and index. ISBN 0-262-18196-7 (alk. paper) 1. Installations (Art)—New York (State)—New York. 2. Installations (Art) I.Title N65735.N5R45 2000 709´.04' 074—dc21 99-41769 CIP To Tim, Sophia, and Matthew, in celebration of the life we share. CONTENTS Acknowledgments viii Introduction x chapter 1 chapter 2 chapter 3 chapter 4 Environments 3 Situations 49 Spaces 69 Installations 109 Notes 158 Index 176 Acknowledgments acknowledgments I am deeply grateful to Jim Dine, Patrick Ireland, Ilya Kabakov,Allan Kaprow, Charlotta Kotik, Jennifer Winkworth, Claes Oldenburg, and Robert Storr for the interviews they granted me early on. I gratefully acknowledge Jack Flam for his sustained interest in this project, for guiding me through the process of publishing a book. Roger Conover at The MIT Press was encouraging and forthright from our first contact.The students in my Installation art seminar at Purchase College helped me to see the need for this book, and to set the para- meters for it. I am extremely fortunate in the support I have from family and friends. In particular, my mother, Johanna Reiss, and my sister, Kathy Reiss, are the foundation that has given me the courage to pursue my interests.Valerie Marcus and I have shared in each other’s lives for over two decades. I have benefited greatly, in both tangible and intangible ways, from the involvement in my life of my aunt, Lucy Foster (1926–99), and my uncle, Michael Foster. Louise Kirkpatrick, Mrs. Robert L. Kirkpatrick, and Bob and Joyce Kirkpatrick have bolstered me with their encouragement. I have more than once called on Lisa Panzesa for her perspective. My husband,Tim Forker, has contributed to this book in myriad ways. I have relied on his enduring patience, his sense of humor, his editorial skills, and his love. ix Introduction introduction This book seeks to fill a void in the study of art since 1960: namely, the study of Installation art.The term “Installation art” is a relatively new one, emerging years after many of the works to which it can be applied were created.Although its definition is somewhat elusive, the term can be used to describe works that share certain key character- istics. In viewing such works, it is important to separate them from other modes of artistic practice, allowing that which is unique about them to be illuminated, and helping the works to be better under- stood. Before the term “Installation art” became part of the vernacular of contemporary art, there was the term “Environment,” which was used by Allan Kaprow in 1958 to describe his room-size multimedia works.1 This term was picked up by critics and used to describe a range of works for two decades. In the mid–1970s, the term “Environment,” while still popular, was joined by others, including “project art” and simply “temporary art.” Eventually there was a shift in terminology. But it was not from Environment to Installation art but, rather, from exhibition to installation. The artist Daniel Buren recognized this in 1971 in his essay “The Function of the Studio.” Writing about the need to preserve the relationship between the work and its place of production, he asked:“Hasn’t the term installa- tion come to replace exhibition?”2 Installation began to be used inter- changeably with exhibition to describe work produced at the exhibition site. All Environments (according to Kaprow’s conception of the term) could also be described as installations, but the reverse is not true.The shift from the term “Environment” to the term “instal- lation” was a gradual one, and even the recognition of an artistic prac- tice called Environments was slow to become established. Despite the xi introduction prevalence of the word “Environment” in exhibition reviews begin- ning in 1959, it did not appear in The Art Index until volume 18, November 1969 to October 1970. There, for the first time, “Environment (Art)” appeared.The first issue of The Art Index that lists installations is volume 27, November 1978 to October 1979. Under “Installation,” the researcher is advised to “see Environment (Art).” In the next fourteen volumes,“installation” continues to be indexed with no listings other than a cross-reference to Environment. Not until vol- ume 42, November 1993 to October 1994 does “installation” appear with an actual listing of articles. At that point, Environment ceases to be a category. The term “installation” appeared as its own listing in general ref- erence books sooner than it did in The Art Index. The Oxford Dictionary of Art (1988) defines installation as a “term which came into vogue during the 1970s for an assemblage or environment con- structed in the gallery specifically for a particular exhibition.”3 The Glossary of Art,Architecture and Design Since 1945 (1992) concurs:“the word ‘installation’ has taken on a stronger meaning, i.e., a one-off exhibit fabricated in relation to the specific characteristics of a gallery space....In the late 1980s some artists began to specialize in con- structing installations with the result that a specific genre— ‘Installation Art’—came into being.” 4 “Environment” can still be found in recent reference books. Edward Lucie-Smith in The Thames and Hudson Dictionary of Art Terms (1984) defines Environment as a “term used from the late 1950s for a three-dimensional work of art, often of a temporary nature, which the viewer can enter (although in practice exhibiting authorities often prevent this).” 5 Installation art can be abstract or pictorial, controlled or sponta- xii introduction neous.
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