Framed Spaces: Photography and Memory in Contemporary Installation Art

264 Pages·2012·3.29 MB·english

by  Monica E. McTighe

framed spaces
INTERFACES: Studies in Visual Culture
EDITORS: Mark J. Williams and Adrian W. B. Randolph,
Dartmouth College
This series, sponsored by Dartmouth College Press, develops and
promotes the study of visual culture from a variety of critical and
methodological perspectives. Its impetus derives from the increas-
ing importance of visual signs in everyday life, and from the rapid
expansion of what are termed “new media.” The broad cultural and
social dynamics attendant to these developments present new
challenges and opportunities across and within the disciplines.
These have resulted in a trans-disciplinary fascination with all things
visual, from “high” to “low,” and from esoteric to popular. This series
brings together approaches to visual culture — broadly conceived —
that assess these dynamics critically and that break new ground in
understanding their eff ects and implications.
For a complete list of books that are available in the series, visit
www.upne.com.
Monica E. McTighe, Framed Spaces: Photography and Memory
in Contemporary Installation Art
Alison Trope, Stardust Monuments: The Saving and Selling of
Hollywood
Nancy Anderson and Michael R. Dietrich, eds., The Educated Eye:
Visual Culture and Pedagogy in the Life Sciences
Shannon Clute and Richard L. Edwards, The Maltese Touch of Evil:
Film Noir and Potential Criticism
Steve F. Anderson, Technologies of History: Visual Media and
the Eccentricity of the Past
Dorothée Brill, Shock and the Senseless in Dada and Fluxus
Janine Mileaf, Please Touch: Dada and Surrealist Objects after
the Readymade
Monica E. McTighe
framed
spaces
PHOTOGRAPHY
AND MEMORY IN
CONTEMPORARY
INSTALLATION ART
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Dartmouth College Press
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For permission to reproduce any of the material in this
book, contact Permissions, University Press of New
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Library of Congress Cataloging-in-Publication Data
McTighe, Monica E.
Framed spaces : photography and memory in contemporary
installation art / Monica E. McTighe. — 1st [edition].
pages cm — (Interfaces: studies in visual culture)
Includes bibliographical references and index.
isbn 978-1-61168-205-2 (cloth : alk. paper) —
isbn 978-1-61168-206-9 — (pbk. : alk. paper) —
isbn 978-1-61168-251-9 (ebook)
1. Art and photography. 2. Installations (Art) —Th emes,
motives. I. Title.
n72.p5m38 2012
709.04(cid:2)074 — dc23 2011051354
contents
Acknowledgments
vii
Introduction
1
ONE
Expanding the Frame
INSTALLATION ART IN THE 1970S
23
TWO
The Politics of Representation
ARCHIVE AND MEMORY IN THE WORK
OF RENÉE GREEN
72
THREE
The Poetics of Experience
ANN HAMILTON’S INSTALLATIONS
AND PHOTOGRAPHS
116
FOUR
Camera Obscura
MEMORY IN FILM AND VIDEO
INSTALLATIONS IN THE 2000S
164
Conclusion
INSTALLATION ART AND MEMORY
201
Notes
209
Bibliography
227
Index
239
acknowledgments
Th is project could not have been completed without the help and support of
many people. First, a great debt of gratitude is owed Howard Singerman, my
mentor and advisor, whose persistent and generous support of my work has
helped me in countless ways. In addition, I am grateful to the professors in
the Department of Art History at the University of Virginia who helped me
develop this project, providing fi nancial support and guidance. Th a nks are
owed as well to the Department of Art and Art History at Tuft s University and
the Faculty Research Awards Committee at Tuft s University whose generous
moral and fi nancial support of my work has helped me complete this project.
In particular, I need to thank my colleague, Eric Rosenberg who has been a
steadfast and generous mentor throughout my time at the university. Th an k
you to the künstlerhaus büchsenhausen in Innsbrück, Austria, which provided
me with a fellowship that contributed to the work in this book. Additional
thanks are due to my colleagues Gregory Williams and Benjamin Carp, who
read draft s of the chapters, Leslie K. Brown, and Richard Pult and Amanda
Dupuis of the University Press of New England. And much gratitude goes
to the artists and others who have been so generous with their time, knowl-
edge, patience, and support, including Tony Cokes, Renée Green, and Javier
Anguera, Ann Hamilton, and Louise Lawler, as well as Janelle Reiring at Metro
Pictures. Th ank you to David Karp, who has been by my side through thick
and thin. And last but not least, thank you to my family, especially to my fa-
ther, E. James McTighe, and my sister, Michele Kendall, who have helped me
in innumerable ways to complete this work. Th is is for you.
Monica E. McTighe
SOMERVILLE, MASSACHUSETTS, 2011

framed spaces