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The University of Chicago Press and Central Saint Martins College of Art and Design, University
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Afterall: A Journal of Art, Context and Enquiry
66 | Afterall
A group of artists and writers, curators and administrators, activists and assorted citizens
assemble on a November evening, packing a large room inside a museum in the US. Some
wear name tags. They sit in tight orderly rows, chairs arranged in two groups so that they
face each other across a narrow aisle. There is no stage, no focal point, no obvious delinea-
tion between expert and audience. Instead, when the event begins, one individual stands
up amidst the crowd and talks for three minutes. As he sits, another stands across the room,
also talking for three minutes. Heads twist and bodies turn to focus on her remarks. A third
rises. It goes on, as thirty speakers — some analytical, some passionate, some engaging —
use their allotted time to comment on the intersections of art, activism, politics and publics.
This beginning is choreographed — the physical arrangement, the placement and ordering
of speakers, the scope of aesthetic territory addressed, the intentional blurring of all kinds
of lines — and then the event relaxes into a more informal discussion.
This structure probably sounds familiar. The event might have been a discursive
extension of an exhibition, or part of a progressive museum education programme.
Perhaps it was a session within the latest Creative Time summit on public practice,
a gathering instigated by the artists and writers of the Midwest Radical Culture Corridor
or a manifestation of West Coast social
Stephanie Smith looks back at Suzanne practice like the Open Engagement
conference held last summer in Oregon. 1
Lacy’s Mapping the Terrain: New Genre In other words, because of its format and
Public Art, and the events leading up to subject matter, the event could fit easily
its publication, in order to suggest new within recent North American iterations
of a global conversation about the social
models for understanding the complexities functions; ethical and aesthetic intentions;
of participation in contemporary art. and public responsibilities of art, creative
workers and cultural institutions. But
in fact it took place twenty years ago, in November 1991, as one link in a chain of activities
instigated by artist, writer and educator Suzanne Lacy, and orchestrated in collaboration
with others — a chain that eventually yielded, in 1995, the landmark book Mapping the
Terrain: New Genre Public Art. 2
Twenty years after that gathering and sixteen years after the book’s publication,
Mapping the Terrain remains essential to a critical consideration of what truly public
art might be. 3 The ‘new genre’ moniker that the subtitle of the book proposed failed to gain
1 In 2009, the New York-based Creative Time extended its work as a commissioner of public
projects and events by instigating an annual programme, the ‘Creative Time Summit: Revolutions
in Public Practice’. This event, curated by Nato Thompson, gathers practitioners and theorists
from around the world. See http://creativetime.org/programs/archive/2010/summit/WP/
(last accessed on 21 March 2011). In 2010, the Social Practice MFA program at Portland State
University, led by artist Harrell Fletcher, launched an annual gathering, ‘Open Engagement’,
a larger and looser multi-day event. See http://openengagement.info/conference-information
(last accessed on 21 March 2011). The Midwest Radical Culture Corridor is a rubric used since 2007
by a group of writers and artists based across the central US to organise field trips, discussions
and collaborative projects. See http://www.midwestradicalculturecorridor.net/ (last accessed
on 21 March 2011).
2 See Suzanne Lacy (ed.), Mapping the Terrain: New Genre Public Art, Seattle: Bay Press, 1995. The event
is mentioned in the preface; this description is extrapolated from video documentation of the event
from Lacy’s archive and from conversations between the author and Lacy on 19 January and 2 February
2011. The author would like to thank Lacy for her generosity in sharing ideas and information over
many years of conversation, and for access to her archive in spring 2010.
3 Mapping the Terrain forms part of a constellation of books and projects about public art published in
the US around that time, including an anthology edited by Nina Felshin called But Is It Art?: The Spirit
of Art as Activism (Seattle: Bay Press, 1995) and the catalogue for Mary Jane Jacob’s massive public art
exhibition ‘Culture in Action’ (Seattle: Bay Press, 1995), two years after the exhibition took place
in Chicago.
4 S. Lacy and Leslie Labowitz, ‘Feminist Artists: Developing a Media Strategy for the Movement’,
in S. Lacy, Leaving Art: Writings on Performance, Politics, and Publics, 1974—2007, Durham, NC:
Duke University Press, 2010, p.85.
68 | Afterall
Image from Suzanne the project’s ambitious scope; the establishment of parameters that intentionally combine
Lacy, ‘Mapping experience and discourse; and the creation of a framework to ‘report out’, so that a wider
the Terrain'
public conference, public might have access to ideas generated in a private context (here, notably, through
November 1991, what one might see as an editorial process of gathering, culling and arranging materials
Napa, CA, showing to later disseminate the results).
Patricia Phillips.
Courtesy the artist A decade later, Lacy began to formulate a kind of meta-project, centred on
bringing together colleagues who shared her interest in socially-engaged, community-
and process-based forms of public art (which she referred to as ‘social art’ in a
continuation of the Ariadne language). With this new project, she focused on an art
world community rather than a specifically feminist network, and began a multi-tiered
collaborative process of assembling peers who cared about these then-new forms of
public art. The objective was to collectively develop analytical tools and frameworks
that could help shape a wider conversation about the relevance and potential impact
of this type of work.
The series of lectures ‘City Sites: Artists and Urban Strategies’, held in 1989, was the
first manifestation of this idea. Making strategic use of her new position as Dean of Fine
Arts at the California College of Arts and Crafts (CCAC) in Oakland, California, Lacy
secured college support to launch ‘City Sites’ as an experimental series of site-specific
to encourage critics to look at this kind of work to see if we can develop a language
for describing it that goes beyond performance, Conceptual art, painting or murals.
People are becoming more and more interested in social art. It’s my belief that there
is now a group of artists who have been working for ten-plus years, and who have
— out of the political necessity of their work — created a fairly sophisticated
structural language and set of strategies. 6
Each artist presented a talk about his or her work at a site connected in some way to his or
her topic, for audiences that Lacy described as ‘mixed’ through their blending of art world
and other kinds of communities. John Malpede of the activist art and theatre group Los
Angeles Poverty Department, for instance, spoke at a homeless shelter, while Adrian Piper
spoke about racial stereotypes at a nightclub. Analysis of the lectures’ intentions, outcomes Image from Suzanne
and implications is beyond the scope of this essay, but note again Lacy’s role as a convener; Lacy, ‘Mapping
the Terrain' retreat,
the combination of shared experience and discourse; and the creation of a framework November 1991,
through which to shape a larger conversation. Napa, CA. Pictured,
The meta-project continued two years later when Lacy orchestrated ‘Mapping the from left to right:
Jennifer Dowley,
Terrain: New Genre Public Art’, a two-part affair that combined public performance and Mierle Laderman
closed discussion — a format now familiar from biennial platforms and aesthetic caucuses Ukeles, Suzanne
but uncommon at the time. 7 It began with the choreographed public event described at Lacy, Leopoldo Maler,
Patricia Phillips
and Mary Jane Jacob.
5 Participants included Judy Baca, Helen and Newton Harrison, Lynn Hershman, Marie Johnson-Calloway, Courtesy the artist
Allan Kaprow, Suzanne Lacy, Mierle Laderman Ukeles, John Malpede and Adrian Piper. See the preface
to S. Lacy (ed.), Mapping the Terrain, op. cit., pp.11—13. See also local newspaper coverage that situates
‘City Sites’ within the larger context of civic and cultural development strategies in Oakland: Jean
Field, ‘Art for Oakland’s Sake’, San Francisco Bay Guardian, 22 February 1989, pp.17 and 20; and Janice
Ross, ‘Adventures in Oakland: Public Art Tackles Some Public Issues’, The Tribune Calendar, 26 February
1989, pp.5 and 24.
6 Moira Roth, ‘Oral History Interview with Suzanne Lacy, March 16, 24, and September 27, 1990’,
Archives of American Art, Smithsonian Institution.
7 The event was directed by Lacy, co-sponsored by CCAC and the Headlands Center for the Arts and held
at SFMOMA, where it was arranged through the education department (which remains a fairly common
channel through which socially engaged practices enter museums). It was funded by the museum,
CCAC, various foundations and the National Endowment for the Arts. See S. Lacy (ed.), Mapping the
Terrain, op. cit., p.14.
70 | Afterall
a context out of which we would generate our works, we would support and advise
other people in doing works and we would write articles on what we were doing.
It’s similar to what I’m doing with ‘City Sites’. It’s a way to create a context which
generates theory and practice. 10
So, what of the book itself? The texts are uneven, and some have aged more gracefully
than others. Jeff Kelley’s discussion of ‘place’ versus ‘site’ in architecturally-based
projects still feels useful, for instance. But those parts of the book that don’t hold up
as well still offer helpful insights into where things were then and how they have changed.
The compendium is invaluable in this regard, for the list of artists reveals the shifting
of the terms of conversation about public practice. Some of the artists featured in the
compendium (including some ‘City Sites’ and conference participants) would probably
not be framed as ‘public’ or ‘socially engaged’ artists today — Ann Hamilton comes
to mind, for instance. Some texts feel antiquated because wider conversations have
changed. At the time, new genre public art was perhaps identifiable less by what it was
than by what it was not — no ‘plop art’ plaza sculptures, no cannons in parks. But the need
to define new forms in opposition to traditional modes of sculpture is no longer urgent and
therefore no longer part of today’s discourse — which indicates the degree to which these
practices have become naturalised. Finally, the group of participants, with its emphasis on
the US, feels quite constrained now. One couldn’t imagine in 1991 the current extent and
8 Speakers included Juana Alicia, Judy Baca, Sheila Levrant de Bretteville, Mel Chin, Estella Conwill
Májozo, Houston Conwill, Jennifer Dowley, Patricia Fuller, Suzi Gablik, Anna Halprin, Ann Hamilton,
Jo Hansen, Helen Harrison, Lynn Hershman, Walter Hood, Mary Jane Jacob, Chris Johnson, Allan
Kaprow, Suzanne Lacy, Hung Liu, Alf Löhr, Yolanda Lopez, Lucy Lippard, Leopoldo Mahler, Jill Manton,
David Mendoza, Richard Misrach, Peter Pennekamp, Patricia Phillips, Lynn Sowder, Mierle Laderman
Ukeles and Carlos Villa. Others joined the closed portion of the session. The book essays were authored
by a smaller group: Baca, Conwill Májozo, Gablik, Jacob, Jeff Kelley, Kaprow, Lacy, Lippard and Phillips
— and Guillermo Gómez-Peña, the only essayist who did not attend the gathering. Susan Leibovitz
Steinman produced the compendium.
9 The parameters for inclusion were established through group discussion. See Lacy’s introduction
in S. Lacy (ed.), Mapping the Terrain, op. cit., pp.189—92.
10 M. Roth, ‘Oral History Interview with Suzanne Lacy’, op. cit.
11 Young artists can now receive formal training in arenas that would have been labeled ‘new genre’
twenty years ago — for instance an MFA in Public Practice from OTIS College of Art and Design in
Los Angeles — a programme chaired by Lacy — or an MFA in Art and Social Practice from Portland
State University.
12 See S. Lacy, ‘Debated Territory: Toward a Critical Language for Public Art’, in S. Lacy (ed.),
Mapping the Terrain, pp.171—85.
13 See Claire Bishop, ‘The Social Turn: Collaboration and Its Discontents’, Artforum, vol.44, no.6,
February 2006, pp.178—83; and Grant Kester’s response letter and Bishop’s response to his response
(Artforum, vol.44, no.9, May 2006, p.22).
72 | Afterall
The introduction of multiple contexts for visual art presents a legitimate dilemma
for critics: what forms of evaluation are appropriate when the sites of reception
for the work, and the premise of ‘audience’, have virtually exploded? […] In the
instances throughout this century when art has moved outside the confines of
traditional exhibition venues, or even remained within them and challenged the
nature and social meaning of art, analysis has been a contested and politicised
terrain. Until a critical approach is realised, this work will remain relegated to
outsider status in the art world, and its ability to transform our understanding
of art and artists’ roles will be safely neutralised. Misconceptions and confused
thinking abound. What is needed at this point is a more subtle and challenging
criticism in which assumptions — both those of the critic and those of the artists
— are examined and grounded within the worlds of both art and social discourse.
Suzanne Lacy, Notions of interaction, audience, artists’ intentions and effectiveness are too freely
Three Weeks in May, used, often without sufficient interrogation and almost never within comprehensive
1977, guerilla
performance, conceptual schemes that differentiate and shed meaning on the practice of new
Los Angeles. genre public art. 14
Photograph:
the artist. Courtesy
the artist In relation to current practices it might do us good to look back even further, to the work
of artists like Allan Kaprow, Lacy’s teacher and someone she encouraged to participate
in ‘City Sites’ and Mapping the Terrain because she saw connections between his work
and those of younger colleagues. Consideration of shared elements and disjunctures seem
useful for all of us as we keep assessing and exploring — not with any hagiographic intent
but rather so that we might strengthen current practice and theory. Although it might
mark me as overly romantic — far more so than Lacy — it seems fitting to close by returning
to that moment twenty years ago, when Mierle Laderman Ukeles stood amidst that
gathering and began her three-minute speech by saying, ‘Thank you, Suzanne. I like being
in your artwork right now. It’s a beautiful thing for all of us.’