By Knight, John; Rottmann, André
For greater than 4 many years, the elusive yet influential Los Angeles-based artist John Knight has constructed a convention of website specificity that assessments either architectural and ideological obstacles of the museum, gallery, and public sphere. Knight's works defy notions of stylistic coherence, even, every now and then, of immediate recognizability. Grounded in a sustained approach to inhabiting the cloth, discursive and fiscal stipulations of various websites, his works systematically problem notions of item, signal, context, authorship, and price, they usually confront audiences not just with mailers, posters, and journals but in addition with chippie degrees, commemorative plates, deck chairs, bicycle bells, flower displays, and charge cards. This quantity deals essays and interviews that hint the serious pondering on Knight, discussing the artist's trajectory from 1969 to 2011. those texts, by means of such famous figures as Benjamin H. D. Buchloh, Anne Rorimer, Alexander Alberro, and Birgit Pelzer, provide shut readings of Knight's pivotal tasks in situ whereas additionally contemplating them when it comes to such art-historical paradigms because the readymade, the anti-aesthetic, institutional critique, and the connection among paintings and layout in addition to company tradition at huge. The e-book presents the 1st selection of those usually hard-to-find texts on Knight and should function an crucial consultant for additional attention of his oeuvre.
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The logotypes operated as an unwarranted and impertinent subtext to that official message, especially because they had not been incorporated into the main spaces of the exhibition. As a subtext of the repressed discursive legacy, they spoke of the past failures of Modernist promises, the latent conditions of its currently renewed projects, and its future functions as the helpless object of possession and as the powerless decoration of the corporate wall. Mirror Series Knight’s most recent work, Mirror Series (1986–), integrates features of both Journals Series and the logotypes in an uneasy synthesis (the vacuity and blandness of the former and the rigorous corporate design of the latter).
Art in these times has probably reached one of its lowest points ever in its history, probably even lower than in the late eighteenth century when there was no great art but only frivolity. Art in the twentieth century has come to a similar function as a mere entertainment, as though we were living in an amusing period, in spite of all the wars that we have experienced as part of our setting. —Marcel Duchamp1 Until recently, the work of John Knight has appeared strangely obscure to American audiences.
The depiction of the museum through the form of its architectural ground plan influences the level on which the work is perceived. Knight 42 Anne Rorimer John Knight, Museotypes, 1983, installation views, The Renaissance Society at the University of Chicago, 1983. has not represented the particular museums by their most familiar images—a literal rendition of the facade of each one, for example—as might appear on actual commemorative plates. Instead, the abstract configuration of the ground plan serves as a ready-made code or symbol whose concentrated form also identifies it with the contemporary emblematic trademark design, or corporate logotype, which over the last several decades has become an aggressive marketing strategy aimed at instant product visibility and a commonplace of industry.