The Gallery as Contact Zone: Renée Green’s Taste Venue, 1994, at Pat Hearn Gallery, New York

IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY

Journal of Curatorial Studies Pub Date : 2023-04-01 DOI:10.1386/jcs_00078_1

Jeppe Ugelvig

引用次数: 0

Abstract

In 1994, artist Renée Green rendered the Pat Hearn Gallery as an open-ended site to study shifting taste cultures in New York City’s SoHo. The project tested the commercial gallery as a potential ‘contact zone’ (Mary Louise Pratt), where cultures meet and grapple with each other in asymmetrical relations of power. By embracing curatorial and museological tactics, she activated long-standing issues regarding the representation of race, first by ‘curating’ an exhibition of real and mimetic historical artefacts and second by refashioning the gallery as a venue for events. This article discusses how exhibitions may or may not facilitate contact zones. Focusing on postmodern ‘hipness’ in the 1990s, I argue that Green’s framing of the gallery as a site of trendiness complexifies Pratt’s idea of the contact zone as well as more classic sociological theories of class.

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作为联系区的画廊：蕾妮·格林的品味场所，1994年，位于纽约Pat Hearn画廊

1994年，艺术家Renée Green将Pat Hearn画廊打造成一个开放式网站，研究纽约SoHo不断变化的品味文化。该项目测试了商业画廊作为一个潜在的“接触区”（玛丽·路易斯·普拉特饰），在这里，文化在不对称的权力关系中相遇并相互争斗。通过采用策展和博物馆策略，她激活了关于种族表现的长期问题，首先是“策展”真实和模仿历史文物的展览，其次是将画廊改造为活动场所。本文讨论了展览如何促进或不促进接触区。关注20世纪90年代的后现代“时髦”，我认为格林将画廊视为一个时髦的场所，使普拉特的接触区概念以及更经典的阶级社会学理论更加复杂。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Journal of Curatorial Studies HUMANITIES, MULTIDISCIPLINARY-

CiteScore

0.40

自引率

0.00%

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期刊介绍： The Journal of Curatorial Studies is an international, peer-reviewed publication that explores the cultural functioning of curating and its relation to exhibitions, institutions, audiences, aesthetics and display culture. The journal takes a wide perspective in the inquiry into what constitutes ''the curatorial''. Curating has evolved considerably from the connoisseurship model of arranging objects to now encompass performative, virtual and interventionist strategies. While curating as a spatialized discourse of art objects remains important, the expanded cultural practice of curating not only produces exhibitions for audiences to view, but also plays a catalytic role in redefining aesthetic experience, framing cultural conditions in institutions and communities, and inquiring into constructions of knowledge and ideology. As a critical and responsive forum for debate in the emerging field of curatorial studies, the journal will foster scholarship in the theory, practice and history of curating, as well as that of exhibitions and display culture in general. The journal supports in-depth investigations of contemporary and historical exhibitions, case studies of curators and their engagements, and analyses of the critical dynamics influencing the production of exhibitions in art and broader display culture. The Journal of Curatorial Studies invites contributions from scholars within curatorial studies, art history, museum studies, cultural studies, and other academic disciplines. The journal publishes both thematic and open issues, and features research articles, contemporary and historical case studies, interviews with curators, artists and theorists, and reviews of books, exhibitions and conferences.