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Hans Haacke: an Investigation of Four Site-Specific Works

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Hans Haacke: an Investigation of Four Site-Specific Works HANS HAACKE: AN INVESTIGATION OF FOUR SITE-SPECIFIC WORKS THAT INCORPORATE PAINTING AS A MEANS OF REVEALING INTERRELATED CULTURAL, ECONOMIC, AND POLITICAL SYSTEMS IN SOCIETY, 1982-1984 THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Suzanne M. Weaver, B.S. Denton, Texas August, 1992 HANS HAACKE: AN INVESTIGATION OF FOUR SITE-SPECIFIC WORKS THAT INCORPORATE PAINTING AS A MEANS OF REVEALING INTERRELATED CULTURAL, ECONOMIC, AND POLITICAL SYSTEMS IN SOCIETY, 1982-1984 THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Suzanne M. Weaver, B.S. Denton, Texas August, 1992 Weaver, Suzanne M., Hans Haacke: An Investigation of Four Site-Specific Works that Incorporate Painting as a Means of Revealing Interrelated Cultural, Economic, and Political Systems in Society, 1982-1984. Master of Arts (Art History), August, 1992, 186 pp1 22 illustrations, bibliography, 171 titles. Four site-specific works produced between 1982 and 1984 in which Hans Haacke utilized the traditional medium of oil on canvas were examined in conjunction with an overview of the underlying and interrelated principles and concepts that have guided his approach to art from 1958-1988. For three decades, the strength and direction of Haacke's work was based on his continuous application of theory to the production of art; practice and theory have related dialectically. Whether investigating physical and biological systems, provenances, or corporate patrons, Haacke has revealed how context and the viewer define and disseminate a work of art. TABLE OF CONTENTS LIST OF ILLUSTRATIONS0............................... .--.. v Chapter I. INTRODUCTION..................................- 1 Statement of Problem Methodology Organization of Thesis Review of Literature II. OVERVIEW OF HAACKE'S ARTISTIC DEVELOPMENT, 1958 1988 .. .18 III. OELGEMAELDE, HOMMAGE A MARCEL BROODTHAERS (OIL PAINTING-HOMAGE TO MARCEL BROODTHAERS), 1982 . ... 50 Description of the cultural, social, and political context Description of the work and motivating concerns and related issues addressed in the work IV. ALCAN: TABLEAU POUR LA SALLE DU CONSEIL ADMINISTRATION (ALCAN: PAINTING FOR THE BOARDROOM), 1983.................................67 Description of the cultural, social, and political context Description of the work and motivating concerns and related issues addressed in the work Critical response and comments V. TAKING STOCK (UNFINISHED), 1983/84 ........ 82 Description of the cultural, social, and political context Description of the work and motivating concerns and related issues addressed in the work Critical response and comments iii VI. WEITE UND VIELFALT DER BRIGADE LUDWIG (BROADNESS AND DIVERSITY OF THE LUDWIG BRIGADE)j, 1984 . .... 103 Description of the cultural, social, and political context Description of the work and motivating concerns and related issues addressed in the work Critical response and comments VII. CONCLUSION..................................127 ENDNOTES................................................ 132 ILLUSTRATIONS......... .............................. 156 REFERENCES.................................................174 iv LIST OF ILLUSTRATIONS Figure 1. Hans Haacke, MetroMobiltan, 1985o. ...... .. ....o.o.#.o157 2. Haacke, Condensation Cube, 1965 ................... 158 3. Haacke, Isolation Box, 1984.......................158 4. Haacke, MOMA-Poll, 1970 ........................... 159 5. Haacke, Broken R.M..., 1986........................160 6. Haacke, Baudrichard's Ecstasy, 1988................160 7. Haacke, Upstairs at Mobil: Musings of a Shareholder, 1981...................................161 8. Haacke, We Bring Good Things to Life,, 1983 ..... 162 9. Haacke, The Right to Life, 1979 .................... 163 10. Haacke, photomural, part of the installation Homage to Marcel Broodthaers......................164 11. Haacke, painting of Reagan and stanchions, part of the installation Homage to Marcel Broodthaers................................164 12. Marcel Broodthaers, painted square ("'proprit privee"), part of the installation Mus6e d'Art Moderne, D~partement des Aigles, Section Publicity and Section d'Art Moderne, 1972 ... ...... 165 13. Broodthaers, Decor: A Conquest by Marcel Broodthaers, 1975.................................165 14. Haacke, Alcan: Tableau pour la salle de conseil d'administration (Alcan: Painting for the Boardroom), 1983..................................166 15. Haacke, Voici Alcan, 1983......................... 167 16. Haacke, Taking Stock (unfinished), 1983-84 ........ 168 17. Peter Kennard, Maggie Regina, 1983................169 V 18 . Haacke, Who Does What in South Africa? 1987 .. ... ... 170 19. Haacke, The Saatchi Collection (Simulations), 1987..........................................- .- 171 20. Haacke, Installation of Weite und Vielfalt der Brigade Ludwig (Broadness and Diversity of the Ludwig Brigade), 1984......................172 21. Haacke, billboard, part of the installation Broadness and Diversity of the Ludwic Brigade..... 173 22. Haacke, painting, part of the installation Broadness and Diversity of the Ludwig Brigade ... ...173 vi CHAPTER I INTRODUCTION For nearly three decades, Hans Haacke, a German artist living and teaching in New York since the mid-1960s, has been investigating the framework that guides the viewer's interpretation and experience of a work of art. In the tradition of Marcel Duchamp and other Dadaists, Haacke has used machine-produced or technical materials (assisted ready-mades) to expose underlying dynamic and dialectical social, political, and economic forces in society that define and disseminate a work of art. Both Duchamp and Haacke appropriated everyday objects to demystify the art process and to reveal how the viewer collaborates in the creative act. This thesis addresses four works produced by Haacke in the 1980s that raise issues directly related to these questions even though they appear to use a traditional media--oil on canvas. These four works that incorporated painting--Oil Painting-Homage to Marcel Broodthaers, 1982, Alcan: Painting for the Boardroom, 1983, Taking Stock (unfinished), 1983/84, and Broadness and Diversity of the Ludwig Brigade, 1984--are the focus of this thesis. Although strong similarities can be drawn between Haacke's works that focus on specific social and political I 2 conditions in contemporary society and other artists in the nineteenth and twentieth centuries--Francisco Goya, Honor6 Daumier, John Heartfield, George Grosz, and Otto Dix, for example-- this thesis will not attempt to fit his work into an art historical category. Likewise, it will not attempt to apply post-modernist critical theory to Haacke's work. Although Haacke's artistic strategies such as appropriation, parody, site-specificity, and demystification are often used to describe postmodern artists, the purpose of this thesis is not to decide whether he is a postmodernist. When asked if he was a postmodern artist at a lecture at the University of Texas, Austin, September 29, 1988, Haacke stated "I don't know...that is a provisional definition, somewhat sociological one by a certain group.. .but nothing in the work can substantiate it." 1 Rather, this thesis examines the layers of references in the four works of the 1980s against the background of his earlier work. In the 1960s, Haacke focused on "the production of systems, the interference with, and the exposure of existing physical, biological, and social systems."2 Through investigating these systems, he was able to reveal those underlying and motivating structures that "instigate real change"3 and transformation in all aspects of life. In other words, through this exploration of existing systems, 3 Haacke "rendered 'visible' what was structurally 'invisible.'"A4 Haacke's approach to art as an investigation of existing systems and their underlying structures could be called a structuralist approach to art. Structuralists, who have directly or indirectly influenced Haacke such as Karl Marx, Ferdinand de Saussure, Claude L6vi-Strauss, and Jack Burnham,5 have in common the conviction that surface events and phenomena are to be explained by structures, data, and phenomena below the surface. The explicit and obvious is to be explained by and is determined--in some sense of the term--by what is implicit and not obvious. The attempt to uncover deep structures, unconscious motivations, and underlying causes which account for human actions at a more basic and profound level than do individual conscious decisions, and wgich shape influence, and structure these decisions.' Applying the principles of the biologist Ludwig von Bertalanffy in his General Systems Theory, Haacke developed a working definition of a system as: a grouping of elements subject to a common plan and purpose. These elements or components interact so as to arrive at a joint goal... I believe the term system should be reserved for sculptures in which a transfer of energy, material, or information occurs... I use the work 'systems' exclusively for things that are not systems in terms of perception, but are physical, biological, or social entities which, i believe, are more real than perceptual titillation. Before 1969/70, Haacke revealed the "continual flux and transformation"9 of two types of interrelated and interactive systems: "1) Physical or inorganic systems: processes based on heat and cold (condensation
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