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Group Material's Americana, 1985 Spoils of the Sign: Group Material’s Americana , 1985* CLAIRE GRACE We knew what the negatives were on the President . So we kept apple pie and flag going for the whole time. —Michael Deaver, deputy chief of staff, Reagan administration 1 [N]o mode of production and therefore no dominant social order and therefore no dominant culture ever in reality exhausts all human practice, human energy, and human intention. —Raymond Williams 2 A motley grid of things set against clashing bands of homely wallpaper: The dense array was far from comfortable. This was Americana , Group Material’s site- specific exhibition project for the 1985 Whitney Biennial in which it took over the museum’s lobby gallery. Facing the entrance hung Laurie Simmons’s Tourism: Las Vegas (1984), a large-format cibachrome print whose appropriated, repho - tographed imagery bet on surface and illusion: A trio of plastic figurines strut toward the rear-projected neon glow of Vegas, wagering class aspiration in all its gendered trappings against the highs and lows of American consumer capitalism. A few paces to the left, five loaves of packaged sliced bread posed a strange rejoin - * My first thanks go to Doug Ashford, Julie Ault, Mundy McLaughlin, and Tim Rollins for their invaluable insights and care in sharing from their memories and archives. My readings do not always align with theirs, and I greatly appreciate the space they afford to my work. Particular feed - back from Ault strengthened this essay and deepened it. This text began as a chapter of my disserta - tion, and I owe an unquantifiable debt of gratitude to my adviser Carrie Lambert-Beatty, and to Benjamin Buchloh, Helen Molesworth, and Maria Gough. I am also grateful to David Joselit and Adam Lehner for their important editorial advice. Finally, a huge thank-you to my friend and col - laborator Kevin Lotery. 1. Mark Hertsgaard, On Bended Knee: The Press and the Reagan Presidency (New York: Farrar, Straus and Giroux, 1988), p. 238. 2. Raymond Williams, Marxism and Literature (Oxford; New York: Oxford University Press, 1977), p. 125. OCTOBER 150, Fall 2014, pp. 133 –160. © 2014 October Magazine, Ltd. and Massachusetts Institute of Technology. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/OCTO_a_00204 by guest on 30 September 2021 134 OCTOBER der: Wonder, Arnold, Pepperidge Farm, pinned by their cellophane crests to form a graduated queue, brought out marginal differences in color scheme and logo design. (At left, Peter Nagy’s depiction of a Pepperidge Farm industrial plant underscored the point.) Pop lurked; Andy Warhol’s 1960s soup cans belabored brand to similar effect, registering the outstripping of substance by signs at the most intimate level of bodily nourishment. Group Material. Americana . 1985. Photograph by Geoffrey Clements, Whitney Museum of American Art, New York. Courtesy of Group Material and Four Corners Books. Already absorbed by Warhol in the early ’60s, what Jean Baudrillard theo - rized a decade later as the “political economy of the sign” expanded exponentially in the Reagan era, a period in which advertising expenditures tripled and televi - sions became standard fixtures in United States households. 3 Baudrillard’s critique of late capitalism tracked the loosening of sign and referent, an epistemo - logical split proper to all representation that had calcified and deepened with the ever more sophisticated forms of media and advertising that characterized the period. For Baudrillard, representation could increasingly only be understood in 3. Jean Baudrillard, For a Critique of the Political Economy of the Sign , trans. Charles Lien (St. Louis, MO: Telos Press, 1981) (first published in French in 1972). Mark Tungate, Adland: A Global History of Advertising (London: Kogan Page, 2007), pp. 99–100. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/OCTO_a_00204 by guest on 30 September 2021 Laurie Simmons. Tourism: Las Vegas/ First View. 1984. Salon 94, New York. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/OCTO_a_00204 by guest on 30 September 2021 136 OCTOBER terms of the simulacrum, without a clear tether to objects of the world, extending not mimetically from experienced reality but rather preceding it and contributing to its construction. A related argument surfaced in the landmark Artists Space exhibition Pictures organized by Douglas Crimp in 1977. Crimp identified a gener - ation of photo-conceptualists who employed strategies of appropriation to investigate representation as the “unavoidable condition” of subject formation, social experience, and capital. 4 This new critical paradigm of postmodernism laid the groundwork for the avid reception of Baudrillard’s thinking, and in particular the concept of the simulacrum, among artists and critics in the early-to-mid-’80s. In 1983, soon after the French theorist’s work appeared in English, he became a contributing editor at Artforum and “The Precession of Simulacra,” first published in Art & Text , was reprinted in the widely read anthology Art After Modernism: Rethinking Representation .5 In the profusion of citations that followed, Baudrillard’s theoretical frameworks themselves risked becoming sheer “simulationism,” a theme standing in for the prestige of theory. 6 Like other Group Material projects, Americana turned a gimlet eye on Baurdillard’s thinking and argued for complicating its sometimes facile assimila - tion among artists and critics in the ’80s. 7 Americana ’s hanging loaves, for example, were dramatically lit from above by theatrical spots Group Material added to the museum’s tracks such that the reflective brand-vaunting packages upstaged the bread they contained. 8 In time, however, the high-heat lighting penetrated the sheen of sign-value and the bread inside began to rot. Whitney staff left messages with Group Material’s answering service requesting that “someone come up to the museum and change the bread, it’s getting nasty.” 9 Rupturing the surface tensions of the sign, the hanging packages offered an olfactory reminder of something more material: a rancid whiff of supply-side economics and the burden of earning one’s daily bread. Designed by core Group Material members Doug Ashford, Julie Ault, Mundy McLaughlin, and Tim Rollins, Americana exemplified the program of spatialized 4. Douglas Crimp, “Pictures,” October 8 (Spring 1979), p. 77. 5. Baudrillard, “The Precession of Simulacra,” Art & Text 11 (Spring 1983); republished in Brian Wallis, ed., Art After Modernism: Rethinking Representation (New York: the New Museum of Contemporary Art, 1984). 6. Hal Foster, The Return of the Real: The Avant-Garde at the End of the Century (Cambridge, Mass.: MIT Press, 1996), p. 107. Oliver Wasow, an artist who participated in a plenary session Group Material convened before its 1987 exhibition Resistance (Anti-Baudrillard) , alluded to Eleanor Heartney’s “The Hot New Cool Art: Simulationism,” Artnews (January 1987), pp. 130 –37. Despite the exhibition’s declarative title, it argued for nuancing rather than jettisoning Baudrillard’s thinking. Transcript of panel discussion, Group Material, “Resistance: Anti-Baudrillard, roundtable discus - sion,” 1987; Group Material archive (hereafter GMA), box 1, folder 52, Fales Library and Special Collections, New York University Libraries (hereafter Fales); also published in File Magazine 28, part 1 (1987), pp. 109–19. 7. Elsewhere I discuss this point in relation to Resistance (Anti-Baudrillard) . See Grace, “A Materialist Postmodernism: Group Material and the 1980s” (Ph.D. diss., Harvard University, 2014). 8. Tim Rollins, discussion with the author, November 11, 2011. 9. Julie Ault, ed., Show and Tell: A Chronicle of Group Material (London: Four Corners Books, 2010), p. 91. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/OCTO_a_00204 by guest on 30 September 2021 Spoils of the Sign 137 juxtaposition employed by this New York–based artist collaborative in more than two dozen one-room exhibitions from 1980 (a year after the group formed) through 1996 (when it disbanded). Wall treatments were strident, often featuring monochromatic expanses of vivid color; in Americana bands of eighteen patterned papers striped the gallery with faux masonry, wood veneer, autumnal calico, Star Wars scenes, and a Pilgrim-themed medley of sailing ships and cornucopia. Frequently infused with prerecorded soundtracks (here including El Gran Combo, Flatt & Scruggs, Run-D.M.C., and Twisted Sister), exhibitions combined display objects in variegated floor-to-ceiling grids across expected high/low divides. Works by little-known artists and major figures (the dozens in Americana ranged widely: Henry Darger, John Miller, Candace Hill-Montgomery, Mierle Laderman Ukeles, Thomas Lawson, Sherrie Levine, etc.) jockeyed with artifacts of mass culture. Exhibitions were ephemeral and historically responsive: The spring 1985 project at the Whitney marked the beginning of the second term of Ronald Reagan’s presidency and the consolidation of a political culture founded on clichés of Americanness. The exhibition played up the cringe-worthy title concept and the double entendre of “the domestic” as the internal conditions of both nation-state and household. Hence the gels in purple (mountains majesty) and amber (waves of grain) that Group Material added to some of the spotlights in ref - erence to the lyrics of “America the Beautiful.” Add to this the box of Jello-O-brand “Americana” custard mix, a console television topped with a current TV Guide , a washer-dryer in “Harvest Gold,” warm-hued Jamie Wyeth homesteads, McLaughlin’s photomontage of nationalist reification (where eagles and slices of pie colonize a doubled map of the US), and Rollins and the Kids of Survival’s painting Amerika , which, like its literary Franz Kafka namesake, ironizes the false promise of the American Dream while also summoning its utopian aspiration. Contemporary commentators took note of Group Material’s turn to the exhi - bition form as a spatial medium (it should be said that in 1981 the artists embarked on an equally prolific and closely related exhibition practice sited in alternative dis - tribution forms such as billboards and newspapers).
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