Institutional Critique/ Feminist art Site specificity is a trend that continues Minimalism and Environmental Art, Site specificity since it takes the place of installation as a decisive element in the definition of the proposition , which might be interdisciplinary in the use of images(mostly photography)and text. Different from Minimalism, however, it may include works made for indoor and outdoor spaces. This trend appeared in the late1960s in Europe and the United States and is developed until today, being incorporated into various forms of artistic production. This site of installation may be considered: 1 Physical: this trend considered the physical or formal characteristics of 1 Physical: the place of installation as a defining characteristic of the work. Richard Serra' work since the early 1970s. Along with the condition of indoor sculptures, which may vary from autonomous, pieces to sitespecific works, Serra developed two Models for outdoor sculptures. Openfiled sculpture: the sculpture is defined by the physical characteristics of the place, which are thus emphasized. Shift(1971) is the Shift(1971) best example. Urban sitespecific sculpture: the place defines the sculpture, which changes the perceptual focus of the place. There is alteration or "subversion" of the ideological characteristic of the place. Eventually, Richard Serra defined this concept as regard his famous sculpture Titled Arc(197980), stating that "To move Titles Arc is to destroy the sculpture." 2 Institutional: it describes the systematic inquiry into the workings of art institutions, for instance galleries and museums, bring to the fore the consideration of the institutional frame of the work as the set of political powers that eventually validate it. These powers are eventually brought to the fore, being criticized, deconstructed, and even denounced politically. Artists: Michael Asher, Hans Haacke, Daniel Buren, and Marcel
Broadthaers, among others. In some cases, there is a direct continuity of photoconceptualist practices, but photography is not accepted as being neutral, since its alleged neutrality becomes a form of political denunciation. Danieal Buren (France) developed a series of Stripe Paintings (196672), which was a proposition that defined the “internal form” of the object (as an alternation of colored and white stripe), but not the “external form” (size) and the “context” of exhibition. The stripes are a direct continuation of Minimalist art in the sense that they are a geometric reduction of all previous art, but the proposition shoes the conflicts between the formalist approach of this trend, and all subsequent institutional critique art, since it reveals that the context alters the perceived value of the work. Hans Haacke(Germany) made an attempt to recontextualize the sphere of the aesthetic, with its socioeconomic and ideological underpinnings. Shapolsky et al., Real State Holdings, a Real Time Social System, as of May 1971 (1971), and Salomon R. Guggenheim Board of Trustees(1974). Marcel Broodthaers (Belgian): who founded a museum of modern art in his studio in 1968, beginning a series of appropreations of the concepts produced by museums and galleries, denouncing the way these art institutions produced artistic value. 3Discursive or Ideaological (to be continued….) Feminist Art: is referred to the efforts and accomplishments of feminists of various countries to make art that reflects women’s lives and experiences. They also wanted to change the foundation for the production and reception of contemporary art, incorporating Conceptual Art, Performance, and Institutional Critique into their art practices to denounce male power (and its visual representations) in society, the artworld and the field of the art history.
Artists: Judy Chicago, Suzanne Lacy, Martha Rosler, Mary Kelly, Nacny Sphero, Faith Ringgold, Dara Birbaum and the art collective Gurrilla Girls. Feminist art follows a parallel development to the Feminist movement, but should not be considered as completely separated from the history of contemporary art. The movement began in the 1960s and flourished throughout the 1970s as an outgrowth of the socalled second wave of feminism. Three momcnts: 1- the woman is considered equal with man, but maintains a competitive
relationships with him(1960). Agnes Martin, Eva Hesse,etc. (Abstractionism) 2The woman is considered as a separated entity, one with nature, and with a specific canon, technical models(sewing, tapestry, etc.), and art history. Utopian moment. “Sense of womanhood”. (1960s and 1970s). Judy Chicago, Carolee Schneemann, Ana Mendieta, Lygia Clark, etc. 3 Critique of the earlier approaches, and the discussion of visual parameters produced by male society as a way of changingnot replacingthe art history canon to incorporate the contribution of women throughout the centuries. Mary Kelly, Barbara Kruger and Andrea Fraser.