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Lawrence Weiner's art uses language in reference to materials. Language itself is a material and at the same time a means of presentation of his work. Weiner evolved this approach in the context of the Conceptual Art of the late sixties. Yet he does not see his own work as "conceptual." The "space" he works within is the entire cultural context. His works are associated with various different media and forms of presentation: books, posters, videos, films, records, drawings, multiples, installations indoors and outdoors, and more. Since his earliest days as a professional artist Weiner has given written and verbal expression to questions concerning his work and its context. The utterances (statements, interviews, lectures, conference contributions) have been collected together in this publication for the first time, and ordered chronologically. Taken as a whole they afford an insight both into a complex individual biography and into the wider development of art and culture and the challenge that this entails.

Weiner, Lauwrence --- Art --- Beeldende kunsten. --- Weiner, Lawrence. --- Weiner, Lawrence, --- Weiner, Lawrence --- Entretiens. --- Art conceptuel --- Artists --- Conceptual art --- Written works.

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Art --- art [discipline] --- texts [documents] --- Weiner, Lawrence --- anno 1900-1999 --- anno 2000-2099 --- United States of America

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Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.

Art --- outdoor sculpture --- earthworks [sculpture] --- art [discipline] --- public art --- art theory --- site-specific works --- identity --- public spaces --- interactive art --- Andre, Carl --- LeWitt, Sol --- Buren, Daniel --- Lacy, Suzanne --- Holt, Nancy --- Haacke, Hans --- Morris, Robert --- Smithson, Robert --- Weiner, Lawrence --- Manglano-Ovalle, Iñigo --- Martinez, Daniel Joseph --- Müller, Christian Philipp --- Sperandio, Christopher --- Torres, Rigoberto --- Ukeles, Mierle Laderman --- Noguchi, Isamu --- Serra, Richard --- Moore, Henry --- Acconci, Vito --- Judd, Donald --- Dion, Mark --- Orozco, Gabriel --- Wodiczko, Krysztof --- Calder, Alexander --- anno 1960-1969 --- anno 1970-1979 --- anno 1980-1989 --- anno 1990-1999 --- anno 2000-2009

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Edited by Florian Matzner --- kunst --- twintigste eeuw --- kunst en maatschappij --- openbare ruimte --- kunst en openbare ruimte --- environmental art --- site-specific art --- Acconci Vito --- Ammann Jean-Christophe --- Armajani Siah --- Artschwager Richard --- Asher Michael --- Buren Daniel --- Chillida Eduardo --- Craig Stephen --- Deacon Richard --- Dion Mark --- Ecker Bogomir --- Eichhorn Maria --- Eliasson Olafur --- Erkmen Ayse --- Fischli & Weiss --- Gette Paul-Armand --- Golz Dorothee --- Graham Dan --- Grasskamp Walter --- Groos Ulrike --- Haacke Hans --- Hegewisch Katharina --- Hirschhorn Thomas --- Ingold Res --- Kabakov Ilya --- Kirkeby Per --- König Kasper --- Kosuth Joseph --- KUball Mischa --- Atelier Van Lieshout --- Manske Hans-Joachim --- Matzner Florian --- Meschede Friedrich --- Metzel Olaf --- Nicolai Olaf --- Nordman Maria --- Orozco Gabriel --- Paolini Giulio --- Pitz Hermann --- Potrc Marjetica --- Rehberger Tobias --- Rückriem Ulrich --- Ruppersberg Allen --- Schlieker Andrea --- Schmidt Eva --- Schmidt Sabine Maria --- Schmidt-Wulffen Stephan --- Schwanke Hans-Peter --- Signer Roman --- Sonna Birgit --- Steidle Otto --- Theis Bert --- Ullrich Wolfgang --- Vettese Angela --- de Vries Herman --- Weiner Lawrence --- Whiteread Rachel --- Zaugg Rémy --- Zobernig Heimo --- 7.038 --- Iconography --- Art --- Sculpture --- art [fine art] --- public spaces --- sculpting --- Buren, Daniel --- Kuball, Mischa --- Haacke, Hans --- Weiner, Lawrence --- Kabakov, Ilija Iosefovich --- Kirkeby, Per --- Acconci, Vito --- Graham, Dan --- Eliasson, Olafur --- Artschwager, Richard --- Dion, Mark --- Eichhorn, Maria --- Fischli, Peter --- Hirschhorn, Thomas --- Signer, Roman --- Weiss, David --- Rehberger, Tobias --- Rückriem, Ulrich --- Metzel, Olaf --- Deacon, Richard --- Kosuth, Joseph --- Atelier Van Lieshout [Rotterdam] --- art [discipline] --- kunst in de openbare ruimte