Hans haacke shapolsky et al
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The piece also included a series of diagrams created by the artist that showed how all these buildings were ultimately tied to the Shapolsky family, notorious NYC slumlords, in some way. I felt that the piece, were it to have been created today, could have been improved by incorporating activist elements that also directly targeted the problem.
At the same time, the piece stitches disparate experiences together into one narrative. In the late 1960s Haacke began to politicize the languages of minimalism and conceptualism. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971
Donna De Salvo: I’m Donna De Salvo, Chief Curator and Deputy Director for Programs at the Whitney Museum of American Art.
In this work, Haacke used existing, public records to construct the history of a series of buildings owned by a single family.
The piece revealed how housing was being bought and maintained primarily for economic profit of the wealthy owners, rather than for the quality of life of the impoverished tenants.
Haacke’s piece is an early example of data visualization as artwork.
In Rosalyn Deutsche’s opinion the other very important aspect of Haacke’s real-estate work is that he brought two types of architectural space into confrontation : “the slum housing of New York massive underclass and the luxurious ‘neutrality’ of the uptown, exclusionary, high art institution with their total obliviousness to the situation of the large majority of people who share the same urban space.
Deutche’s reading of Haacke’s work - as an effort to juxtapose social spaces as defined by architectural structures - is an important additional interpretation of his practice.” (Foster, 2004)
Data presentation blog post by Cynthia (Xi) Hua
Shapolsky et al.
Simple, matter-of-fact tracking of tenement holdings, the pieces are without any accusation or polemical tone.” (Foster, 2004) Director Messer explained his decision to cancel the exhibition describing Haacke’s work as “work that violates the supreme neutrality of the work of art and therefore no longer merits the protection of the museum.” (Foster, 2004) This dispute raised a question about what does neutrality of work of art mean and what defines aesthetic, artistic practices as opposed to political, journalistic one.
There were recorded facts available in the New York Public Library collected by the artist. The curator, who defended the work, was fired. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971 (Hans Haacke) was an artwork, and data presentation, that critically documented unfair land ownership in New York City.
Exhibition was canceled and curator Edward Fry was fired. In the work, a color photograph of the Les Poseuses, which the artist had most likely given to Jules F. Chistophe, his anarchist friend as a gift, is accompanied by 14 panels each listing the resale price of the work and the information about the people who paid for it.
The work consisted of 142 photographs of buildings labeled with data on their ownership, based on data across roughly a twenty-year period. In the mid 1970s, he became increasingly interested in critiqueing institutions of art, their funders, and the often disguised relationships between their internalised practices of business and politics.
In one of his most well-known works, Shapolsky et al.
He absorbed documentary strategies to discuss issues he was dealing with.
Hans Haacke
(b. The diagrams demonstrated how the Shapolsky family used various dummy corporations and a nepotistic business network to control large swathes of land in the Lower East Side and Harlem, while the street-level images showed the neglected conditions of the buildings.
Shapolsky was one of the Board members of the Guggenheim Museum who owned more slum properties than any- one else in New York. And in fact, not only was Haacke’s show canceled, but the curator who had organized the exhibition was terminated from their position. It is powerful in using the act of data collection to create a narrative of landlord abuse that would not necessarily be apparent with any individual piece of evidence.
At the same time, the piece was meant to go up at the Guggenheim, far from the low-income neighborhoods it depicts.