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“tautological art” – or, the art of repetition, specifically of commodities within a
hyper‐commercialized society. Liber’s Lego project is, in my view, categorically
different from Duchamp’s ready‐mades and Warhol’s “repeats” (i.e. Brillo boxes,
etc.) due to the vast epistemological gap between the products themselves. For
instance, if Liber’s project had been extended and actually placed within toy stores,
I would imagine most people would immediately recognize the blatant difference
between his Lego System Kits and the “normal, consumer‐friendly” Kits that the
Lego Corporation had made. The public thinks of toys and toy‐kits in a very specific
way; toys are for play and play is innocent and unassuming. Yet Liber’s project cuts
deep into this predisposition and provides a new, witty, and biting view of
“tautological art” and how it can alter the concept and reception of “public art”
throughout the world. So following, Duchamp’s “ready‐mades” and Warhol’s Brillo
boxes do indeed challenge notions of “tautological art” and the critical reflection of
what art can be and what art can challenge, but they do so from an
aesthetic/consumerist perspective, where the installation and “contextual
placement” of the objects matters more than their public reception and
involvement. Warhol’s Brillo boxes were effective because they challenged the
notion of the gallery space and what it should present (and represent), whereas
Liber’s Lego project was effective because it challenged what reappropriation and
re‐contextualization should present (and break‐down). This is the aforementioned
epistemological gap, and it concerns the work of many artists working in the public
sphere
today.
One
such
artist
(whom
I
believe
has
a
particularly
interesting
link
to
Wodiczko and his concepts of the “Urban Palimpsest”) is the sculptor Richard Serra.
One piece in particular entitled “Tilted Arc” has a well‐known history of public
discomfort/disruption, (mis)appropriation, and the resounding clash of historical
frameworks. Spieker dicusses Wodiczko’s “instrumentalization of his viewer’s
unconscious, of their mechanical reflexes, habits, and fixation” when referring to the
artist’s recontextualization of monuments and public spaces. Serra’s “Titled Arc,”
albeit sculptural and grounded (not in transit) offered a similar “reception through
distraction” that Spieker attributes so much to Wodiczko’s projections/installations.
“Titled Arc” was a 120 foot long, 12 foot high sculpture made of COT‐TEN steel that
was installed in 1981 (rather asymmetrically and antagonistically) in the space in
front of the Jacob Javits Federal Building. The piece, after much public controversy,
was taken down in 1989. Now, I find “Tilted Arc” to be relevant to Wodiczko’s (and
Lieber and Haacke’s) work because of it’s addition of a “layer of significance,” as
Spieker puts it, to a “public space” and collective consciousness. People absolutely
hated the “Tilted Arc,” due to it’s bulk and it’s seemingly threatening quality of
dividing (splitting) the public gathering space before this governmental building.
For many, this “place of public business” was being directly confronted by a
“monumental” piece of work that challenged both aesthetic appeal and public
consciousness. People had to go out of their way to walk around “the monstrosity”
and, like Spieker’s relation to cinema and film art in general, where constantly
“distracted by but unaware of ” the specific qualities and challenges that “Tilted Arc”
provided
for
the
public.
Yet
it
dramatically
changed
and
“reappropriated”
a
rather
dull
public
space
and
acted
as
a
“public
palimpsest”
of
sorts
in
terms
of
what
public
art can accomplish and challenge. Even though “Tilted Arc” was intended to be a
permanent sculpture, if you look at it (in retrospect) as being a performance piece…
or, better yet, as a temporary installation (in time, I suppose) then it was incredibly
effective and began to initialize the role of intervention and its importance within
public art. Additionally, I find it particularly relevant and interesting how Serra talks
about his own work and its capacity to break‐down and reform the habits and
conscious speculation of viewers; where space becomes a place for critical reflection
and how his work transforms space into a volume of sculpture instead of a volume
of architecture. I believe Wodiczko’s work accomplishes something very similar –
where his projections form new, aesthetic and politically charged, “sculptures” in
space and time, time being the essential difference between the two artists.