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Original Articles

Lost in Transit: The Non-Place of Installation

Pages 167-178 | Published online: 18 May 2015

NOTES

  • Originally published in Artforum (Summer, 1967), the article is reprinted in Michael Fried, Art and Objecthood: Essays and Reviews (Chicago; London: Chicago UP, 1998).
  • There was also another sound element, the incongruous sound of Australian birds, coming from a place near the lights—that is, on the other side of the screen to Kaiser's sound piece.
  • Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism (London; NY: Verso, 1991) 154.
  • Fried, Art and Objecthood, 174.
  • Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism, 27.
  • “Here finally I want to emphasize something that may already have become clear: the experience in question persists in time, and the presentment of endlessness that, I have been claiming, is central to literalist art and theory is essentially a presentment of endless, or indefinite, duration.” Fried, Art and Objecthood, 174.
  • ibid. 172.
  • ibid. 167.
  • Rosalind Krauss, Passages in Modern Sculpture (London: Thames and Hudson, 1977) 267.
  • Marc Augé, Non-Places: Introduction to an Anthropology of Supermodernity (London; NY: Verso, 1995).
  • ibid.
  • ibid. 104.
  • In Curved Space (Seeing Double), part of the introductory monologue to the film Last Year in Marienbad is written on the outside wall of a curved corridor space. The reference is a fascinating one insofar as the film evokes a labyrinth via means of the “non-place” of a hotel's foyer and corridors. Alain Robbe-Grillet, who wrote the screenplay, also famously commented that the various characters of the film could never find their way out of this labyrinth because they were condemned to live in a perpetual present.
  • Fried, Art and Objecthood, 168.

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