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MAKING AND UNMAKING THE MUSEUM:
TOM MARIONI AND SAN FRANCISCO CONCEPTUAL ART, 1968-1979
by
Leta Y. Ming
____________________________________________________________
A Dissertation Presented to the
FACULTY OF THE USC GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF PHILOSOPHY
(ART HISTORY)
May 2012
Copyright 2012 Leta Y. Ming
Object Description
| Title | Making and unmaking the museum: Tom Marioni and San Francisco conceptual art, 1968-1979 |
| Author | Ming, Leta Y. |
| Author email | letaming@usc.edu;letaming@hotmail.com |
| Degree | Doctor of Philosophy |
| Document type | Dissertation |
| Degree program | Art History |
| School | College of Letters, Arts And Sciences |
| Date defended/completed | 2012-03-18 |
| Date submitted | 2012-04-17 |
| Date approved | 2012-04-17 |
| Restricted until | 2012-04-17 |
| Date published | 2012-04-17 |
| Advisor (committee chair) | Meyer, Richard |
| Advisor (committee member) |
Banet-Weiser, Sarah Luke, Megan |
| Abstract | In 1968, San Francisco artist Tom Marioni stopped making traditional two- and three-dimensional art objects and turned his focus to situational actions or performances that unfolded over time – what he called conceptual art. After his conversion to conceptualism and throughout the early 1970s, Marioni became the leading advocate of what was then an emerging art practice in the Bay Area. As curator of the Richmond Art Center, a small community museum in the East Bay, and founder of one of the first alternative art spaces, the Museum of Conceptual Art (MOCA) in San Francisco, Marioni organized radical shows of process, body, performance, video and installation art with the intent of advancing his own career as well as those of other conceptual artists. Using Marioni’s career as a case study, I demonstrate how avant-garde artists of his generation disrupted prevailing notions of artistic labor and artistic subjectivity by shifting away from a solitary, artisanal practice of artmaking towards a post-studio, managerial model. In addition, Marioni’s hybrid art-making and exhibition-making career is a compelling prehistory to the now widespread practice of artists acting as curators and the phenomenon of the itinerant, global star curator. ❧ Although Marioni’s art is easily dismissed because of its miming of rebellious, puerile adolescent male behavior, this potentially troubling aspect of the work is precisely what needs to be examined and historicized. My dissertation argues that Marioni’s location in San Francisco – steeped in a rich tradition of countercultural radicalism and far from the high stakes critical scrutiny and market pressure of New York City – fostered the artist’s unique form of interactive, convivial and irreverent conceptualism, which introduced such leisurely social activities as drinking beer with friends into the realm of high art. Indeed, Marioni’s often outrageous, flamboyant gestures align his practice to a larger countercultural attack on white, middle-class culture that flourished in 1960s and 1970s San Francisco, in which uncivil provocations and playful pranks constituted purposeful, pointed critiques of “repressive” societal conventions. Furthermore, my study contends that Marioni’s work contributes to the history of institutional critique, a key aspect of conceptual art, in its exposure of the artist’s complicit and inevitable participation, as well as vulnerability, in the star-based, winner-take-all art economy. |
| Keyword | conceptual art; post-studio art; institutional critique; performance art; body art; site-specific art; installation art; video art; participatory art; social art; alternative art spaces; museums; curating; artist as curator; Museum of Conceptual Art; Richmond Art Center; humor in art; counterculture; San Francisco Bay Area; 1960s; 1970s; drinking beer |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m |
| Rights | Ming, Leta Y. |
| Access conditions | The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright. The original signature page accompanying the original submission of the work to the USC Libraries is retained by the USC Libraries and a copy of it may be obtained by authorized requesters contacting the repository e-mail address given. |
| Repository name | University of Southern California Digital Library |
| Repository address | USC Digital Library, University of Southern California, University Park Campus MC 7002, 106 University Village, Los Angeles, California 90089-7002, USA |
| Repository email | cisadmin@usc.edu |
| Archival file | uscthesesreloadpub_Volume4/etd-MingLetaY-614.pdf |
Description
| Title | Page 1 |
| Full text | MAKING AND UNMAKING THE MUSEUM: TOM MARIONI AND SAN FRANCISCO CONCEPTUAL ART, 1968-1979 by Leta Y. Ming ____________________________________________________________ A Dissertation Presented to the FACULTY OF THE USC GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (ART HISTORY) May 2012 Copyright 2012 Leta Y. Ming |
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