Abstract

While today process-driven work affiliated with craft, outsider art, and folk art is increasingly considered a viable politicized or conceptual practice, this essay focuses on the 1996 New Museum exhibition, A Labor of Love, in order to examine Marcia Tucker’s unconventional use of “domestic” politics to promote and activate objects often read as bound to their materiality. This article offers an analysis of the exhibition as a challenge to the politics of value that supports established aesthetic categories within the museum to enact a broader renegotiation of those values that extend beyond the museum’s walls. Marcia Tucker took craft’s conventionally domestic station as license to theorize ways in which quotidian strategies (both those undertaken by the artists, and those deployed by Tucker) could prompt controversy and debate. By featuring connections among artifacts based on questions of labor, the exhibition highlighted process as an issue infused with political meaning and potential. The aesthetic hybrids on display were, moreover, complemented with domestic structures for viewing and interaction; the introduction of music, home furnishings, and a domestic format enacted persistent references to private spaces. In this way, A Labor of Love aligned the museum within the larger framework of lived experience, forging a complex dialogue with agency and care as practiced outside the museum.

摘要

虽然今天与工艺、局外人艺术和民间艺术相关的过程驱动的工作越来越被认为是一种可行的政治化或概念化实践，但本文关注的是 1996 年新博物馆展览“爱的劳动” ，为了检验玛西娅·塔克 (Marcia Tucker) 非常规地使用“国内”政治来促进和激活通常被解读为与其物质性相关的物体。本文对展览进行了分析，将其视为对支持博物馆内既定美学类别的价值政治的挑战，以对那些超越博物馆围墙的价值观进行更广泛的重新协商。玛西娅·塔克 (Marcia Tucker) 将工艺的传统国内站作为对日常策略（包括艺术家采取的策略和塔克部署的策略）可能引发争议和辩论的方式进行理论化的许可。通过突出基于劳动问题的人工制品之间的联系，展览突出了过程作为一个充满政治意义和潜力的问题。此外，展出的审美混合体是 辅之以供观看和互动的国内结构；音乐、家居装饰和家庭形式的引入不断地提及私人空间。这样，爱的劳动使博物馆在更大的生活经验框架内保持一致，与博物馆外实践的机构和关怀建立了复杂的对话。