One Place after Another: Site-Specific Art and Locational Identity (Mit Press)

This book has helped me tremendously with interior design. I never knew where to put things before and my house was a mess because of it. I knew something was amiss, I just couldn't figure out how to correct it. Miwon Kwon's book has helped me to understand the locationality and site-specificity of objects. I now see that you're supposed to have a reason for putting the coat rack in the oven or the oven in the driveway. This book has really allowed me to take control of my life. I used to just fumble around with stuff--everyday objects would look like big question marks to me, but now all I see is intentional locationality and and site-specificity.

Needed for art history class.

I find Kwon's book informative and insightful, especially as a practitioner working with installation and context-specific project, and with current development of contemporary theories particularly in mind. Kwon's geneological approach towards reading the development of site-specific work is impressive, obviously overlaid with cultural theory in her analysis. Although she has focused mainly on the perplexity of community-charged art projects at the later chapter, her delivery on spatial politics and the many other facets of the production of site-specific art is most valuable, especially with some useful terminology and concepts (in reading the progress of these practice). Reading the text in conjunction with few other similar books on the issue of space, site and art production, one could discern some of the common notions of criticality and urgency in addressing the unscrupulous co-option of mainstream institutional forces. No doubt, the text could post as both informative and also a challenge towards artistic production, itself in turn becomes a site of intervention as it suggest (and aim) for communal praxis in an (politically correct) age of `glocalisation'.

I was waiting eagerly for the Kwon to arrive after I purchased it, perhaps this heightened expectation is to blame for the slight sense of deflation as I read it.The text has a fairly useful historical overview of the history of 'site' as an artistic idea, with a specifically American focus. One of my disappointments was that Kwon appears to be relying on secondary research, drawing from public art examples already extensively discussed in other public art texts, most notably those of Tom Finklepearl and Grant Kester. The book raises some interesting questions about the relationships between comissioning agents and artists in relation to the thorny problem of what constitutes an identifiable 'community.' These questions are however limited to a narrow interpretation of what public art practice is, remaining close to issues found in what has been called New Genre.All in all useful as an introduction to the subject, a teaching tool for undergraduate students, but perhaps better as a companion text rather than a definitive source. If you have the Finklepearl already you may not need this one.

This is a helpful survey of the related issues of site specificity and institutional critique. My students find it accessible, and find that it ties together major themes and artists of the 1970s. Highly recommended for those teaching/studying art since 1970.

Reading I got more of an understanding of what is expected in creating Site Art. However the novel is short, minus the notes and introduction. The explanations are of a primary understanding and the photo references are black and white. Not helpful if you want an honest depiction. Don't think it's worth the amount it is. Get another heavier read if you want to be challenged.

Thought this would book. Do a lot of reading in this area and this is a great text

great

One Place after Another

Excellent condition, as described, just what I wanted. Amazon's range isbrilliant - how about offering a discount for those of us who buy regularly from you.