SECOND HOUSE is perfectly camouflaged in its surroundings—at first glance, it appears to be an utterly ordinary single story ranch house. Yet when approaching it from the long hillside driveway, the overgrown grass strategically obscures the identity of who or what lies within. Like so many other domestic buildings in the area, SECOND HOUSE looks kind of decrepit or unfinished (passersby must wonder: did the owner run out of money and abandon construction?). Its façade is missing—only a thin, silvery skin made of insulation panels covers the exterior. An abandoned 1973 Dodge Barracuda is parked out back, quietly rusting in the tall grass; an inside-out tire planter adorns the completely unlandscaped front yard. The inside seems as unfinished as the outside. The walls and ceilings are partially painted, leaving the spackled drywall joints visible in many spots. Plywood sheets cover the floors. Exposed fluorescent tubes provide an even, cold light in the five rooms of the house. While the rawness of the interior décor suggests an uninhabited space, SECOND HOUSE is far from empty. The objects and images sheltered within its walls mirror the landscape outside: it’s pure Americana (that has been “stolen,” cropped, and edited by Richard Prince).
Richard Prince’s page
Parket 72 – 2005
Guggenheim Museum to acquire RICHARD PRINCE’S SECOND HOUSE, 2005
Lightning Devastates Guggenheim-Acquired “Second House” by Richard Prince
The Order of Things: An Archaeology of the Human Sciences (French: Les Mots et les choses: Une archéologie des sciences humaines) is a 1966 book by Michel Foucault. Foucault endeavours to excavate the origins of the human sciences, particularly but not exclusively psychology and sociology. The book opens with an extended discussion of Diego Velázquez’s painting Las Meninas and its complex arrangement of sightlines, hiddenness, and appearance. Then it develops its central claim: that all periods of history have possessed certain underlying conditions of truth that constituted what was acceptable as, for example, scientific discourse. Foucault argues that these conditions of discourse have changed over time, from one period’s episteme to another. Jean Piaget, in Structuralism, compared Foucault’s episteme to Thomas Kuhn’s notion of a paradigm. Foucault demonstrates the parallelisms in the development of three fields: linguistics, biology, and economics. Foucault’s critique has been influential in the field of cultural history. The various shifts in consciousness that he points out in the first chapters of the book have led several scholars, such as Theodore Porter, to scrutinize the bases for knowledge in our present day as well as to critique the projection of modern categories of knowledge onto subjects that remain intrinsically unintelligible, in spite of historical knowledge. The Order of Things brought Foucault to prominence as an intellectual figure in France. A review by Jean-Paul Sartre attacked Foucault as “the last barricade of the bourgeoisie”. Foucault responded, “Poor bourgeoisie; If they needed me as a ‘barricade’, then they had already lost power!”
When one defines “order” as a sorting of priorities, it becomes beautifully clear as to what Foucault is doing here. With virtuoso showmanship, he weaves an intensely complex history of thought. He dips into literature, art, economics and even biology in The Order of Things, possibly one of the most significant, yet most overlooked, works of the twentieth century. Eclipsed by his later work on power and discourse, nonetheless it was The Order of Things that established Foucault’s reputation as an intellectual giant. Pirouetting around the outer edge of language, Foucault unsettles the surface of literary writing. In describing the limitations of our usual taxonomies, he opens the door onto a whole new system of thought, one ripe with what he calls “exotic charm.” Intellectual pyrotechnics from the master of critical thinking, this book is crucial reading for those who wish to gain insight into that odd beast called Postmodernism, and a must for any fan of Foucault.
Lozano’s notebooks are full of drawing exercises and language play. “Which is heavier, red or blue?” she wrote in August of 1968 “Red seems heavier,” she concluded.
Lozano refused to interact with women. She considered this a form of living art and called it The Boycott Piece, performing it from 1971 until her death twenty years later.
Field trip to Harlem with David Maroto and Juanli Carrion, 17th Feb 2011
Tea Party, 1972, Bas Jan Ader