
Wanderlust: Actions, Traces, Journeys, 1967-2017 is a big catalogue—no expense was spared in its publication, although it wasn’t copyedited very well—that documents a 50-year-survey exhibition on the theme of exploration “and how artists engage this theme in various ways including walking, performative actions, land use, endurance, and the consideration of public space” (4) that was presented at the University at Buffalo Art Galleries in 2017. It’s hard to tell how Adams is using the term “performative” here: does she mean “performative” in J.L. Austin’s sense of the word, as an utterance that causes something to happen, or does the term “performative actions” merely mean “performances”? The catalogue proper begins with an excerpt from Rebecca Solnit’s book, Wanderlust: A History of Walking. That quotation, which occurs early in Solnit’s book, describes walking on the coast of the Pacific Ocean near the Golden Gate Bridge, and it uses that experience to consider the cognitive and creative effects of walking on the walker:
thinking is generally thought of as doing nothing in a production-oriented culture, and doing nothing is hard to do. It is best done by disguising it as doing something, and the something closest to doing nothing is walking. Walking itself is the intentional act closest to the unwilled rhythms of the body, to breathing and the beating of the heart. It strikes a delicate balance between working and idling, being and doing, it is a bodily labor that produces nothing but thoughts, experiences, arrivals. After all those years of walking to work out other things, it made sense to come back to work close to home, in Thoreau’s sense, and to think about walking.
Walking, ideally, is a state in which the mind, the body, and the world are aligned, as though they were three characters finally in conversation together, three notes suddenly making a chord. Walking allows us to be in our bodies and in the world without being made busy by them. It leaves us free to think without being wholly lost in our thoughts. . . . Moving on foot seems to make it easier to move in time; the mind wanders from plans to recollections to observations.
The rhythm of walking generates a kind of rhythm of thinking, and the passage through a landscape echoes or stimulates the passage through a series of thoughts. This creates an odd consonance between internal and external passage, one that suggests that the minds [sic] is also a landscape of sorts and that walking is one way to traverse it. A new thought often seems like a feature of the landscape that was there all along, as though thinking were traveling rather than making. And so one aspect of the history of walking is the history of thinking made concrete—for the motions of the mind cannot be traced, but those of the feet can. Walking can also be imagined as a visual activity, every walk a tour leisurely enough both to see and to think over the sights, to assimilate the new into the known. Perhaps this is where walking’s peculiar utility for thinkers comes from. The surprises, liberations, and clarifications of travel can sometimes be garnered by going around the block as well as going around the world, and walking travels both near and far. Or perhaps walking should be called movement, not travel, for one can walk in circles or travel around the world immobilized in a seat, and a certain kind of wanderlust can only be assuaged by the acts of the body itself in motion, not the motion of the car, boat, or plane. It is the movement as well as the sights going by that seems to make things happen in the mind and this is what makes walking ambiguous and endlessly fertile: it is both mean and end, travel and destination. (qtd. 6-7)
I know that many practitioners of radical or artistic walking would find Solnit’s comments excessively Romantic, and therefore wrongheaded or merely out of fashion, and yet I would venture to guess that many of those same critics have had experiences like the ones Solnit describes here, in which walking has been an aid to thinking. Just because the connection between thinking and walking—or even creativity and walking—was recognized by Wordsworth doesn’t make it less true. The connection Solnit makes in this long quotation between walking and thinking is borne out by my own experiences of walking. More importantly, however, for this book and the exhibition it documents, Solnit’s thinking on walking establishes a context for the work included here and the exhibition’s curatorial approach to that work. After all, it wasn’t called Wanderlust for no reason. If Solnit’s take on walking is Romantic, I would expect the curatorial approach to the exhibition documented by this book to be Romantic as well.
Rachel Adams’s introduction begins with a visit to Walter de Maria’s sculpture The Lightning Field, 400 stainless steel poles installed in a grid covering half a square mile of New Mexico desert. She notes that The Lightning Field is intended to be walked as well as seen, and describes the effect the sculpture had on her as she journeyed through the sculpture:
my journey through the sculpture was calming, dramatic, poetic, and performative. At one point, I found myself ignoring the poles and skipping—my body floating above the earth for half seconds, and then flattening the rough desert vegetation as I landed. Another time, I found myself in line with my husband, who was walking two poles down from my location. We locked eyes and suddenly engaged in a non-verbal performance of walking the grid from pole to pole in step with each other. This lasted for several poles until we came to the outer edge of the sculpture and turned toward each other. However, the most vivid memory I have was the sunset. As the sun lowered in the west, brilliant color slowly crept all around us, engulfing the landscape until all 360 degrees were activated by its disappearance below the horizon. (11)
During Adams’s experience at The Lightning Field, she writes, “this exhibition solidified and the subtitle first entered my mind” (11). Wanderlust: Actions, Traces, Journeys 1967-2017 began with walking artists, but broadened to consider“the creative processes of artists who make work outside the confines of an indoor space” (11). The 41 artists included “departed from the studio, the stage, the gallery, the museum,” Adams continues. “They found themselves wandering, sometimes with a purpose, and at other times not. The exhibition presents a variety of performative artistic projects that have taken place over the past fifty years, and includes works that are narrative, conceptual, poetic, and political” (11). The photographs, videos, films, texts, sculptures, and installations presented in the exhibition “are documented actions, traces, and journeys” (13). Not just walking, then, but other forms of movement are included in this exhibition catalogue as well.
Adams historicizes the exhibition by suggesting that humans have an “innate need to walk, traverse, travel and experience newness,” and that “artists follow in the footsteps of our ancestors’ early quests as they circumnavigate the globe” (13). From those prehistoric journeys, she leaps ahead to Jean-Jacques Rousseau’s claim that walking stimulated his thinking, and from there she moves to “[p]erformative action in contemporary artistic practice” which began to change art making in the 1950s (13). “The move from art object to art action led to the experimental artistic practices of the 1960s and ’70s,” Adams writes. “Crossing the boundaries of Conceptual, Performance, and Land art, the works in this exhibition focus on the radical reorientation of art practice, beginning specifically in 1967” (13). Adams notes the contributions of the Dadaists, Surrealists, and the members of the Lettrist International and Situationist International, but the most important text in establishing this shift from object to action, for her, was Allan Kaprow’s “The Legacy of Jackson Pollock,” an essay “which provided a theoretical springboard for future artistic practice—establishing the idea of the happening, and widening the scope of what was considered art” (13). Kaprow’s essay “became a call, an invitation for artists to abandon the object-based disciplines for the limitless investigation of relationships between ideas, acts, and everyday life” (13). At the same time that Kaprow was creating “happenings” and “activities,” “the Fluxus Movement came into focus, which included street theater, tours, and impromptu performances with artists such as George Maciunas, George Brecht, Yoko Ono, Mieko Shiomi, and Nam June Paik. These practices and artists were the precursors to the beginning of this exhibition” (14).
The “ease and availability of photography and video” by the mid-1960s “allowed artists to capture their performances, interactions, and engagements, helping to create a documentary within performance” and generating the material that is included in this exhibition, which “serves as both a record of the performance and the object within the gallery” (14). The documentation of “these formative artworks,” which showcases “the body’s movement through urban and rural landscapes,” include “both the solitary action of the artist and the artist performing for and/or with an audience” (14). Adams includes Richard Long’s 1967 A Line Made By Walking in this category: Long flattened “the grass beneath his feet” and recorded “the remnant of the action” (14). “While we do not see the artist repeatedly walking to flatten the grass, the viewer comes to imagine the action through its documentation,” she writes (14). “In a similar bucolic environment in 1969, artist Nancy Holt traveled to England and made Trail Markers—a document of a walk she took through Dartmoor National Park,” Adams continues (14), Holt’s work consists of colour photographs of trail markers in the park: “Her interest in these markers made her both a tourist and an explorer” (14-17). In 1967, Arte Povera artist Michelangelo Pistoletto performed Walking Sculpture in Turin, Italy: “With his large papier-mache globe in tow, Pistoletto both strolled and drove from gallery to gallery, where he was watched and joined by passersby. This performance might be considered a precursor to what is not termed social practice” (17). The action was documented in black-and-white photographs which “reference film stills, and show Pistoletto’s body and the ball moving through an urban landscape” (17). Rosemarie Castoro (whom I haven’t heard of before) and Vito Acconci (who is often discussed in histories of walking art) “participated in the Street Works exhibitions in New York City that transpired throughout 1969) (17). Castoro rode her bike through the streets, “marking her path with white paint dripping from a can off the back fender” (17); she also “appeared to create a crack in the sidewalk using aluminum tape” and physically wrestled with “an industrial roll of aluminum. The documentation reveals the artist grappling on her own, surrounded by a crowd of curious onlookers” (17). Acconci created nine separate works for Street Works, the most famous of which is Following Piece (17-19). Other artists whose work took place outside the studio included John Baldessari and the OHO Group in Slovenia.
“While these works act as starting points for the exhibition, there is a seamless transition to artworks over the next four decades,” Adams continues. “In the 1970s, the Israeli artist Efrat Natan walked through Tel Aviv with a T-shaped wooden box on her head, one of her better known ‘action sculptures’” (19). Cuban-born artist Ana Mendieta created “intimate, personal earthworks by physically embedding her body into the land” in locations in the U.S. and Mexico (19). “In 1985, with her Doc Martens tied around her ankles, Mona Hatoum walked barefoot through the Brixton market,” Adams writes. “This performance was a response to racial conditions in the UK at the time, and specifically the market—a site of one of the race riots” (19). African-American artist David Hammons “kicked a metal bucket down the darkened streets of New York, creating value from a discarded object while employing a variety of meanings from the performance title—Phat Free” (19). Adams also cites Night Canoeing, by Janet Cardiff and George Bures Miller, and Roberley Bell’s Still Visible, in which the artist tried to find 18 trees she had photographed previously in Istanbul “via her daily journeys and her memories” (19). All of these works and artists were included in the exhibition.
“Each artist included in this exhibition merges creative practice with elemental forces—either by chance or by instruction—and the varied documents of these movements remain,” Adams writes. “When venturing outdoors, these artists transcend the physical confines of the studio, finding inspiration in both the natural and urban landscapes” and employing “performative strategies that engage with the landscape” (20). The movement outside of the studio “fuses art with life, aestheticizing a space and an action rather than an object. With one foot out the door, artists’ actions, traces, and journeys continue to expand contemporary art practice, just as they did fifty years ago” (20).
All of the works represented in this book, which are organized in alphabetical order by the artists’ surnames rather than chronologically or thematically, are accompanied by short essays. The first is Vito Acconci’s Following Piece, from 1969, which is discussed by Kate Green. Acconci began as a poet, but “he began stretching beyond the boundaries of his newly acquired discipline,” moving into conceptual art (24). Acconci’s Following Piece was a daily practice of following passersby until they entered somewhere he couldn’t go (a taxi, a private residence). Acconci kept a written log of these wanderings. Eventually, though, he realized that he would have to document these actions in photographs if he wanted them to reach the visual art world. “So an episode was re-enacted and captured in black-and-white photographs—shot by Betsy Jackson—that give drifting a psychological valence,” Green writes. “The photographs helped the circulation of the activity, as did Acconci’s decision to ‘dedicate’ episodes to dozens across the art world—Kaspar Koenig, Lucy Lippard, Seth Siegelaub—who received letters that further extended the reach” (24).
Next is the work of Janine Antoni, explored by Jason Foumberg. “Janine Antoni’s body parts are tools for her sculptures,” Foumberg writes. “She has made art with her hair, her back, he tongue, her teeth, so naturally her feet followed” (29). Her 2002 video installation Touch “demonstrates the practice of physical discipline in the shape of tightrope walking. Arms like a bird, Antoni baby-steps her way across the horizon line—the seascape of her childhood in the Bahamas—on a rope stretched where sky meets sea” (29). Walking a tightrope involves “a muscular sense of balance—that invisible organ,” Foumberg continues. “What do the toes know? Feet are an intelligent technology. Antoni learned tightrope waking so she could cultivate an innate skill that resides in her body’s midline, her posture, her gravity, her mass. The harmony of balance was already inside her, she just had to discover it” (29). Because of the location, and the camera angle, “the artist’s feet momentarily, illusionistically, walk on water, and it is so perfect that you can believe in it for a second” (29). “The audiences’ gasps keep a funambulist afloat,” Foumberg concludes. “It is a daring feat of buoyancy. Among this history of extremes, Antoni’s tightrope is more metaphor than measure. She is not high but she desires and cultivates the impossible, which tightrope mastery represents. The camera’s tight frame cuts off her context and she is not at peril, but she is balancing on the tightrope of believability” (29).
Kim Beck’s 2017 There Here billboard project, located in Buffalo, depicts “arrows rendered in the sky by a skywriting plane,” Toby Lawrence writes, drawing attention “to the physical and psychological space held by the border and relationships between the United States and Canada” (33). The arrows “also allude to the history of Buffalo as the traditional land of the Seneca people, as a migratory and economic gateway, and as a site of resistance and revolution through significant markers of history, such as the War of 1812 and the Underground Railroad” (33). The multiple billboards, scattered throughout Buffalo, are “highly visible markers” that “instill another layer of directionality, as they echo the large concrete arrows that accompanied beacons installed across the United States and utilized by the Air Mail Service in transcontinental navigation before the development of radar” (33-34). But unlike those concrete arrows, the arrows on Beck’s billboards are inversions that “hold the ability to influence the activity on the ground, in contrast to the arrows providing direction for those in the sky” (34). “This notion of directionality plays a key role in Beck’s work,” Lawrence concludes, “drawing the continually shifting human influence that overlays the urban and natural landscapes to direct and redirect history and movements” (34).
Rosemarie Castoro’s 1969 Gates of Troy (the work in which she wrestled with an industrial roll of aluminum) follows next. The title of the work, Andrew Barron points out, “alludes to the Homeric myth of Achilles dragging the corpse of Hector behind his chariot. Castoro assumed the role of an enraged Achilles and imbued the material with a corporeality at once mastered yet uncontained. As she wrestled with the object-as-body, Castoro continuously interrupted the urban landscape, interfering with oncoming traffic and pedestrians along the way” (38). Interference, as a theme, “animates Castoro’s decades-long practice,” Barron writes. “Most known for her connections to Minimalism and Conceptualism, she transgressed artistic boundaries and disrupted conventional notions of categorization” (38). As a student at the Pratt Institute, Castoro participated in Yvonne Ranier’s avant-garde dance performances, and that influence “informed her early paintings and drawings, which were preoccupied with structure and perception, examining the ways in which geometric edges intersect in and move through space” (38). “Castoro understood spatial limitations as instantiated power relations,” Barron continues, and by taking her work outside of the studio, “she challenged and remapped impositions forced upon the city and body alike, always attending to the constructed nature of those forms” (38). Castoro was one of the few women artists active in New York’s Minimalist art scene, and “despite leaving behind an oeuvre as formally advanced and conceptually rigorous as her male counterparts’, her status as a woman is why she remains vastly under-recognized in relation to her peers” (38). For Barron, “Gates of Troy is perhaps Rosemarie Castoro’s most emphatic protest” against the inequalities she experienced (38).
The art collective Fallen Fruit’s 2017 installation The Grass is Always Greener is a planting of fruit trees in Buffalo’s Fruit Belt neighbourhood. The collective, which works exclusively with fruit trees, has recast fruit and fruit trees as “noble and generous component[s] of a community’s eco-system” (45). They work with “governments, museums, and creative initiatives around the world to plant public fruit parks as part of the serial project The Endless Orchard,” Jamilee Lacy writes (46). They also create “social artworks, such as Public Fruit Jam, Neighborhood Infusions, and Lemonade Stand, wherein diverse publics come together to pick, harvest, and concoct edible art at free-form festivals celebrating the crop of their own communal labour” (46). As part of this exhibition, they presented “a new edition of an ongoing series of photo-collaged, fruit-patterned wallpaper” that they call “‘fruit portraits’” (46). “Designed using images of fruit and flora found in and around Buffalo, the latest wallpaper portrait cites a regionally specific narrative of fruit to symbolize the joy of abundant fruit in the modern world,” Lacy concludes (46).
Kenneth Josephson’s photographic series Images Within Images is discussed next. Josephson “is considered a pioneer in regard to conceptual photography,” Adams writes (50). His practice “combines humor with a visceral awareness, and his conceptual experiments are playful while exploring and questioning the medium of photography” (50). In Images Within Images, “the photographer’s hand juts into the frame, holding out a related image in the foreground with that in the background,” Adams continues, such as (in 1970’s New York State) a photograph of an ocean liner juxtaposed against the sea’s horizon (50). “This simple gesture is at once funny and poignant,” Adams writes. “The viewer can imagine that ocean liner actually chugging along on open water, yet Josephson compresses the three-dimensionality of the space he is in with the snap of the camera” (50). Josephson thereby allows audiences to laugh “while constructing visual puzzles that showcase how he encounters the world at large” (50).
The inclusion of Allan Kaprow’s 1989 Taking A Shoe For A Walk in Wanderlust links that exhibition to the beginnings of contemporary performance art in the 1950s. In her discussion of that work, Adams returns to Kaprow’s essay “The Legacy of Jackson Pollock” and its call for artists to “‘put a bit of life in art’” (qtd. 54). She notes that after a decade of conducting happens, Kaprow adopted the term “activities” instead: “Less abstract, more personal and with smaller groups, activities became the forefront of Kaprow’s practice. He thought of these activities as a form of inspired play and even ventured to call himself an ‘un-artist’” (54-55). Activities often took place outside of galleries. For instance, his 1968 Round Trip “involved rolling a ball of paper garbage tied with string through city streets, collecting and adding more garbage to it until it became a huge ball, then gradually stripping the ball to nothing” (55)—an instance of walking art. “As an early proprietor of action outside of the studio”—surely Adams means “proponent,” not “proprietor”—Kaprow “was and continues to be extremely influential” (55). “In Taking A Shoe For A Walk, Kaprow returns to the street, eliciting humor and play once again,” she concludes (55). The score for the activity follows: it asks participants to pull a shoe on a string through the city, checking from time to time to see if it’s worn out (55). However, the relationship to Mona Hatoum’s work is not made explicit here for some reason; didn’t she drag boots behind her before Kaprow’s activity? Perhaps it’s rude to ask such questions of such an important figure, or perhaps originality isn’t the point, or perhaps the differences—Hatoum was barefoot, while Kaprow’s participants wear shoes—are important.
Mary Mattingly’s House and Universe (2012-2013) depicts “in poetic terms what Mattingly’s public interventions advocate for outside the studio,” writes Jennie Lamensdorf (61). Mattingly’s works “seek to raise awareness and actively contribute to social change,” and the photographs and sculptures included in House and Universe “are powerful demonstrations of over-consumption, waste, and the burden placed on the environment in the race to stay current among objects subject to planned obsolescence” (61). “In her series of bundles, Mattingly gathered up and bound together her life’s possessions,” Lamensdorf writes (61). “She then took the bundles to the street, moving them, with great effort, across public spaces in a gesture of cleansing self-flagellation. For example, the photograph Pull (2013) depicts Mattingly physically moving her personal baggage across the Bayonne Bridge to the Port of Newark” (61). That work was an elegy for the Bayonne Bridge, which was about to be replaced by a taller structure “that would allow larger container ships to bring more goods into New York City” (61-62). “In her work, Mattingly seeks to reconcile her own participation in the structures she critiques with the principles of her ambitious projects, Lamensdorf concludes. “Mattingly’s practice is a tool against apathy, seducing the viewer into considering the larger subjects at hand: over-consumption, food security, and land use” (62). Strangely, the connection between Mattingly’s work and Kaprow’s is not noted here: in the documentation of Pull that is included in the book, Mattingly is seen dragging a large ball of possessions tied with string along a sidewalk, a reference (I think) to Kaprow’s Round Trip (since those possessions appear to be mostly made of paper).
Landscape for Fire (1972) was one of Anthony McCall’s experiments with ephemeral activities, which were documented on film. Flammable materials were arranged in a grid in a field, and performers—members of the British artist collaboration Exit—“were instructed to torch and extinguish each fire according to a predetermined sequence” (66). “McCall—encouraged by the serial conceptualism of Sol Lewitt and Mel Bochner and the rise of live performance as a way to navigate sculptural concerns—attempted to impose the precision and controllable configurations of the modernist grid upon the indeterminate and capricious nature of fire, wind and outdoor space,” Holly Shen writes. “He created score-like drawings to dictate every detail, from the amount of petrol used to the walking speed of the performers” (66). However, because “McCall shrewdly understood the inability of the medium to transmute a live event beyond its durational form,” rather than documenting the event, “Landscape for Fire is formulated as a discrete film that adopts cinematic devices uncommon in other recordings of happenings and live events of the same era,” such as varying the speed of sequences and inverting the image (66). “McCall regarded these outdoor performances as a primary experience and the film as a secondary record,” Shen concludes, “a fact that ultimately led him to make Line Describing a Cone a year later, his now-iconic work in which the film is the event itself, as projected light slowly reveals a volumetric form” (66).
Teresa Murak’s 1974 Procession documents the artist wearing a plant, cardamine pratensis, also known as lady’s smock, as a shawl as she walked around Warsaw for several hours, including the city’s central square and the hallways of its art academy.“The aesthetic elements of lady’s smock, including its color and texture, are included in many of Murak’s photographs, films, and graphic works,” writes Hannah Cattarin (70). In Procession, Murak bumped into passersby, “at times evoking angry reactions from observers,” and for Catterin, even though Murak was weighed down by “the heavy layer of greenery,” the action “that now exists in photographs was a demonstration of freedom—a disruption of the public realm by a female body covered in nature that could not be ignored” (70). “In Procession, Murak brings the intimate ritual of cultivation and the beauty of growth to our attention asking that our relationship with nature be examined,” Cattarin concludes. “That question makes Murak’s ecologically engaged work as significant today as it was more than forty years ago” (70).
Wangechi Mutu’s 2004 video Cutting “invites viewers to consider the acts of cutting and collage as reparative gestures, a response to issues of representation of violence,” writes Allison Glenn (75). In the video, Mutu hacks at a log with a machete: “Each strike of the machete onto the surface of the wood creates a deep, resonant sound of metal striking metal, the high-pitched echo reverberating” (75). After her breathing reaches a crescendo, Mutu discards the machete and climbs a nearby hill. In interviews, Mutu connects the action to the mutilation of civilians by rebel fighters in places like Rwanda and Sierra Leone; she suggests that such violence led her to consider collages as “‘a formal solution for how I viewed the world’” (qtd. 75). “This unique moment in Mutu’s oeuvre is a combination of her own disdain with the political climate, and her resolution of this through the performance of a distinct collage aesthetic that will will appear time and again in her career,” Glenn writes (75).
In Efrat Natan’s 1973 Head Sculpture, the artist walks around Tel Aviv wearing a t-shaped box over her head. According to Lisa J. Sutcliffe, “Head Sculpture is now one of Natan’s best known works, epitomizing her pursuit of ‘action sculpture’ that made her one of Israel’s pioneers of conceptual art” (78). The shape of the box, Sutcliffe continues, “references multiple disparate subjects including a plus sign, an airplane, and the children’s house on a kibbutz,” as well as the Christian cross (78). “The act of photographing Natan’s Head Sculpture was carefully planned to provide a document for future publication, ultimately transforming the active event to a static relic,” Sutcliffe notes (78). The photographs are taken from above, and “[t]he flattened aerial perspective transforms the human form into a sculptural object and suggests modes of surveillance and mapping, which are emphasized by the function of the sculpture itself” (78). The box physically obscures Natan’s identity “and accentuates the power of the senses of sight and sound,” Sutcliffe concludes; “her performance suggests a framing and reduction of the senses and the ambiguity inherent in collecting a narrow field of vision and hearing” (78).
The OHO Group’s 1969 Summer Projects falls within “global conceptualism, touching upon several artistic principles found within Arte Povera, Land art, Process art, and performance,” writes Adams (82). The Summer Projects was a group of “experimental, small-scale ephemeral performances and sculptures” that were “created with simple, low-cost materials, including string, paper, mirrors, and plastic tubing” (82). Wanderlust included seven images from the Summer Projects series; they “document the artists claiming public space through playful actions, extending beyond traditional ideas of what art is and where it is located” (82).
Gabriel Orozco’s work was represented in Wanderlust through photographs of his 1992 Yielding Stone and his 1993 Island within an Island (Isla en La Isla). According to Jamie DiSarno, Orozco’s practice “involves an often mundane encounter with the geography of a locale while his photographic documents frequently offer up the residue of such meetings” (88). Island within an Island, for instance, is a photograph of “detritus found on location” with the New York skyline in the background (88). “The skyline accessible to us is that of debris—the other exists in a space of privilege,” DiSarno writes (88). In Yielding Stone, Orozco rolled 150 pounds of Plasticine clay through the streets of New York: “the weight of the material pressed itself into the spaces of the ground and picked up impressions from what the object happened upon. The city and the clay body become opposing weights, impaling each other by their respective heft” (88-89). For DiSarno, “[b]oth works speak to more than simply walking the city. They suggest how locales imprint themselves upon bodies through encounters, accesses, borders, blockages, and what threatens to slip through the cracks. They reference the city that continues to consume itself and spit back out the presumed useless” (89). “Our attention in the images is given not to places we might choose,” she concludes. “[R]ather, we are asked to consider what might otherwise be ignored, a reminder of what was, and in fact what might still be” (89).
In John Pfahl’s Altered Landscapes series, a pieces of string is stretched into a lightning bolt shape in a variety of different landscapes. “We follow this unnatural line as it zigzags over difficult terrain, the only clear sign of human presence in otherwise seemingly undeveloped and unwelcoming land,” Natalie Fleming writes. “Pfahl literally marks the territory where he has journeyed, with tape and string outlining his chosen symbol. We cannot ignore that he has been there, unlike those traveling photographers of the nineteenth century, who deliberately created landscapes to appear untouched for their metropolitan audiences” (92). Unlike other examples of land art, Pfahl’s intervention is temporary and sometimes almost hidden. “Although his designs ay not endure onsite, within his photographs, the lightning bolts will always stand in our way and interfere with our sense of depth in a medium that already makes such spatial evaluations difficult,” Fleming continues. “Pfahl reinforces our inability to enter the landscape by turning his lens to the ground to capture compositions in which the sky is either completely cut off or just a sliver in between tree branches and hills. This is not a landscape made available through Pfahl’s markings, but a wall of dirt and vegetation that denies our wanderlust any satisfaction” (92).
Adams discussed Michelangelo Pistoletto’s 1967 Walking Sculpture in some detail in the book’s introduction.In her brief essay on the work, Eve Schillo places Pistoletto’s work firmly within the Arte Povera movement. “Arte Povera artists created work from non-traditional, ‘impoverished’ materials, thus—in theory—freeing their work from the conventions of the art market and a perceived corporatization of art,” she writes (96). Pistoletto trained as a painter but soon decided to pursue “the breakdown of the hierarchies of everyday life object versus art objects” (96). Walking Sculpture is one example: Pistoletto uses a mass consumable (newspapers) to make a “singular, anti-commodity” object (96). “This work exists fully during its performance and then laterally, once documented photographically,” Schillo writes. “As a temporal piece, Walking Sculpture epitomizes the Arte Povera directive: of little value in materials; disavowing the singular maker; and requiring no exhibition space per se, just a foothold in the real world. Walking Sculpture comes into the ‘art world’ only after Pistoletto shares his snowball-like accumulations of newspapers with the street, initiating a walk” (96). Walking Sculpture combines elements: a universal shape (a ball), the assistance of passersby, and “the collective performance” (96). “Pistoletto used the terms ‘walking art,’ but also transportable art, street collective performance, and simply, a collective walk,” Schillo writes. “While mimicking the wave of radical political rallies and marches occurring worldwide at the time, there is also a reference to more traditional religious processions common in Europe. . . . Still an active sculpture to this day, we would now likely group this kind of art activity under a ‘social practice’ rubric” (96). According to Schillo, “Pistoletto’s legacy is in his embrace of the concept that art could indeed affect social change. In altering the forms art can take (a walk), he forces us to recalibrate our perceptions. In perfecting the communal performance that occurs each time Walking Sculpture comes into being, he allows us to witness society in unity, in collaboration and—most underrated—in play” (96).
Mary Ellen Strom’s 2013 Tree Lines creates a replica of the NTSC video colour bar spectrum from 22 portraits of pine trees in a Montana forest. The trunk of each tree has been painted: “Marked out from their sisters, these trees are either dying or ‘dead standing,’ the effects of the mountain pine beetle visible even though a thick layer of pigment,” Ariel Pittman writes. “Once considered part of natural conditions, changes to the global climate have resulted in a loss of homeostasis in these ecosystems and bark beetle infestations are decimating forests from Mexico to Canada” (101). By transforming the trees into a test pattern, Strom’s photographs “alert the viewer to the urgent need to adjust the human in puts that affect this forest, and the ever more fragile wild” (101). Strom’s other photographic and video work “memorialize the lost forest and project a vision of tender efforts towards remediation,” Pittman concludes. “Her exhortations are a nod to the consequences, both deleterious and healing, of human action” (101-02).
One of the text’s two critical essays appears at this point, disrupting the series of artists and works with historical analysis. In “Keep on Walking,” Lori Waxman discusses the walking art of the Dadaists and Surrealists as precursors to contemporary walking art. Her starting point is a 28-mile walk between the French towns of Blois and Romorantin, conducted by André Breton, Louis Aragon, Max Morise and Roger Vitrac in May 1924. “They’d picked the towns at random on a map and, beginning at Blois, continued haphazardly on foot for close to ten days, detouring only for the sake of eating and sleeping,” Waxman writes. “Wandering without a goal was their goal, and over the course of the journey they encountered a few phantoms, came close to fisticuffs, and eventually decided to cut the excursion short due to mounting hostility, fatigue, and disorientation” (107-08). Nonetheless, the trip was considered a success: “They had left the studio, the gallery, the theater; taken to the road; and discovered the marvelous in the places and actions of everyday life. They had not merely represented movement in poems or paintings, as did artists in the past, but had endured actual experiences in real space, using their own bodies in time” (108). When they returned to Paris, Breton wrote the Manifesto of Surrealism.
Visual artists were late in discovering wandering or walking as a practice: “Ancient philosophers, medieval craftsmen and scholars, and Romantic poets all got going first” (108). Waxman notes that “it took the innovations of the twentieth century—the ready-made and found materials, the rapprochement of art and life, the rise of performance, the attention to process—for walking itself to become art” (108). The Surrealists, and before them, the Dadaists, were the first twentieth-century art walkers. “The Surrealists wanted a revolution, one that would provide access to the combination of dream and reality that the four friends had approached on their 1924 ramble,” Waxman writes. “Breton’s manifesto called for individual liberation from moralistic and capitalistic pressure, from the obligation to work, from relentless modernization and consumption and rationalization and common sense” (108). Resistance to these forces took many forms, “but walking was chief among the strategies that served them in their goal of transforming the human condition by tapping the unconscious. If it has remained a less visible part of the Surrealists’ historical production, walking for them was never akin to a final product, though it was often as not an essential part of the process” (108-09). Walking remains part of the process of many artists: “a means, not an end” (109).
“So Breton kept on walking, and so too did his Surrealist colleagues,” Waxman writes (109). As well as walking as transportation, they walked, she continues, “in hopes of a chance encounter with the outmoded objects and places, the magnetic people, the uncanny situations that fill memoiristic books like Breton’s Nadja (1928) and L’Amour fou (1937), Aragon’s Paysan de Paris (1926), and Philippe Soupault’s Les Dernières nuits de Paris, as well as the photographs in Brassaï’s Paris de nuit (1933)” (109). There were principles behind this walking activity: “The more trivial and under-appreciated the locale, the greater the possibility of sudden revelation and re-enchantment. The ‘quotidian mystery’ of the night, as Soupault called it, made this all the more so: daylight was workaday, darkness the time of alternative economies, peripatetic and streetwise, shadowy and shimmery” (109). Two people walking together was better than one, and the Surrealists liked walking with women, whom they viewed as “mediums through which to tap the unconscious and even hysterical aspects of the city and oneself” (109). “The itineraries mapped by these Surrealist writers, though full of sometimes unbelievable coincidences, happenstance and strangeness, were inextricably tied with what happened to their bodies and minds in space,” Waxman continues (111). She suggests that Brassaï’s photographs capture “a fusion of revolution, nighttime journey, and the refusal to work: “Under his framing and lighting, prostitutes, scavengers and beggars do not disappear into the margins but rather glow at the center; a silent, sleeping Paris is yet full of living electric lights and strange industrial structures; a peculiar anthropomorphism haunts the city, come alive through the shadows of gates, trees and pillars” (111). Brassaï documented “the mystery he found, within the realm of everyday observation, on the streets of Paris while rambling” (111).
In the 1950s, another group of young people “found themselves roaming the less popular districts and immigrant neighbourhoods of the city fo hours, days or even longer”: they called themselves the Lettrists and, later, the Situationist International (113). Their goal was to succeed where they believed Surrealism had failed: achieving a better life for everyone (113). According to Waxman, “they focused their activities on improving the quality of everyday mass existence: its stilted routines, its uninspiring architecture and urban planning, its limited situations” (113). The Situationists “left behind the Surrealist tactics of chance, the unconscious and the marvelous; did away with anything that could be commodified as an art object; preferred the collective to the individual,” she continues. “But they kept on walking” (113). Wandering around the city was a game for them, as well as “a form of study and a revolutionary device” (113). “Changing the world was only possible by being an active participant, and drifting was one of the most accessible means for doing so,” Waxman writes. “It provided a playful, passionate way to engage the urban landscape; a direct route for acquiring knowledge about it; and a rejection of the obligation to live a life limited by work, consumption, privatization and passivity” (113). They described their activity using a new word, la dérive, “and eventually distributed journals, political pamphlets, artist books and maps theorizing its practice and recording related findings” (113).
“With the city as their theater and medium, the SI set about devising a series of playful yet constructive methods for reshaping its buildings, streets and the lives lived among them,” Waxman contends. “Walking provided a central tactic again and again” (114). The dérive had two overlapping purposes: “1) emotional disorientation achieved via ambulatory play, and 2) the study of a terrain in terms of its psychological influence, which they dubbed ‘psychogeography.’ It was tricky, but not impossible, to achieve both at once” (114). They were seriously playful and used a variety of games that would create disorientation during their drifts, such as using a map of one city to navigate another (114). The goal was the despectacularization of the city, making it “a place that could be actively and creatively explored” (114). However, not all of the Situationists could drift freely: its Moroccan and Algerian members, for instance, or the few women associated with the group. Abdelhafid Khatib’s psychogeographic study of Les Halles was interrupted because Khatib was arrested for breaking the curfew imposed on North Africans (114-16). Another tactic was the détournement, “a rerouting of pre-existing elements into a superior situation, many of them conducive to disorienting dérives” (116). The Situationists “published lists of suggestions for reclaiming Paris for a ludic and mobile citizenry” (116), all of which seem silly now (partly because of the liability issues their suggestions would create) and got drunk or high before going on drifts (116). “For all that mischievious, even delinquent behavior, the dérive also had a more serious scientific side,” Waxman writes (120). They were serious about psychogeography as a way to study “the effect of the city on its inhabitants. . . . They believed that the moods and directions of pedestrians were influenced in a predictable and therefore observable manner” (120). They published reports that “indicated the psychogeographic contours of a city” and maps that “without conforming to any kind of official delimitations . . . constituted a cohesive and coherent place in terms of shared atmosphere” (120). “The SI believed that their methods portended a level of objectivity, but it is impossible to ignore the tension between the objective and the subjective parts of their practice,” Waxman notes. The paradox of psychogeography is that “it is both about the self and getting beyond it, to a consciousness of how the city or the world feels” (120-22). “But the only way to know how a place feels is through one’s own subjective, terrestrial experience of it,” she concludes. “These limitations nevertheless have a positive counterpart: they insist on the need for the rest of us, artists and non-artists alike, to go out and walk the streets and pay attention to how it affects us all” (122).
After Waxman’s essay, the text returns to an alphabetically organized discussion of artists included in the exhibition—but beginning at the start of the alphabet again, with Nevin Aladağ’s 2013 Session, a three-channel video installation that presents a musical portrait of Sharjah, a city in the United Arab Emirates. The work’s soundtrack “features a cast of diverse Arabic, African, and Indian percussion instruments that take us along a discordant symphonic journey, from the quiet desert to a cacophonous industrial district and old city center,” writes Katherine Finerty. “They move with adventurous power yet a vulnerable lack of control, beckoning us to question: what is playing? What is being played?” (129). The sounds break through hierarchies, generating a sense of freedom, while at the same time a “dissonant yet resonant composition emerges, narrating the borders and beats of the city in a symphony ultimately free from narration” (129). “Aladağ’s work explores the textures of socio-spatial environments and global cultural identity,” Finerty concludes. “In Session we are thus invited to become not only viewers and listeners, but also voyagers and cartographers, navigating the enigmatic edges of our surrounding environments through surfaces and socially active gestures” (129).
Francis Alÿs’s 1997 Sometimes Making Something Leads to Nothing is video documentation of an action: the artist moving a block of ice through the streets of Mexico City for nine hours. Alÿs’s work often features walking “as an essential component. It is here that we come to know the importance of the pedestrian’s sense of time, scale, and scope to the artist,” writes Sean Ripple (133). That rectangular block, which is “suggestive of the cube—a prevalent motif found throughout the history of minimalism—is, over the course of the day, reduced to little more than a small and shallow puddle of moisture,” Ripple continues. “By performing an action that brings to mind the punishment that King Sisyphus endured in the Greek myth, Alÿs equates the work an artist does with an exercise in futility. However, another reading suggests that the artist is wrestling with minimalism as a modernist high point” (133). As an act of erasure, Sometimes Making Something Leads to Nothing may untether both artist and viewers “from the constraints of art historical precedent, which often dominates our experience of art” (133).
John Baldessari’s 1969 California Map Project Part 1: California and 1973 Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts) are works of conceptual photography. “Baldessari’s images still capture a distinct sense of place and time, driven by his desire to get out of the studio,” Joshua Fischer writes (138). The California Map Project was classified “as both an earthwork and ‘information’” (138). Baldessari’s ambition was to make each letter spelling CALIFORNIA using “found and ephemeral materials, such as a telephone pole and faked shadow to make an L” (138). The sequence of photographs also documents a road trip throughout California, and as the images change “from brown desert to green forestry,” they capture “the immense geographic variation of the state through modest, temporary gestures” (138). Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts) is an experiment with change relationships and systems which the artist described as an “absurd exercise” that parodies “traditional photography’s relationship to the decisive moment when a photo might be valued for capturing something of great importance or gravity” (138).
“Every summer, without a set plan or imposed pressure for results, Blue Republic sets out to the rocky shores of Lake Huron to perform what they refer to as ‘invisible gallery of drawings,’” writes Karen Patterson:
Archaeological records reveal an Aboriginal presence in this region dating back 11,000 years, and this backdrop—rife with power, history and change—becomes Blue Republic’s outdoor laboratory every summer. As the artists shift into a more meditative rhythm of the natural environment, they hone on to what is most important to them and to society: global warming, economic failure, and threats of terrorism begin to emerge in these water drawings. (143)
“In the ephemeral museum of the Canadian Shield, the scale of artwork is altered to be something more corporeal, theatrical, and less focused on the product and more on the process,” Patterson continues. “Blue Republic performs on this historic canvas, without rehearsal or expectation, transposing and layering ore histories, events and concerns onto this ever-changing landscape. The fact that the drawings disappear does not mean they do not exist” (143-44). (They are documented on video, like the work shown as part of Wanderlust.) “The issues rendered in the drawings—the corporate ladder, the stock exchange, clear-cutting of our forests, 9/11—are abstractions of pivotal moments in contemporary society, yet in this moment of ‘extreme present,’ these issues threaten to move from the forefront to the background of our collective memory,” Patterson concludes. “With these water drawings, Blue Republic communicates the importance of chaos, emotion, and loss. These interventions act as rebellions against the pursuit of perfection and quantification, and underscore the human equation in this digital age” (144).
Zoe Crosher’s series of photographs, LA-LIKE: Transgressing the Pacific (2008-2010), “investigates mysterious narratives of fictional deaths as portrayed in Hollywood films, alongside real-life disappearances,” Melanie Flood writes. “The portfolio of seven large-scale, square-format photographs invokes an eerie sense of nostalgia through depictions of desolate beaches, ominous pier sunsets, and jagged coves, while descriptive titles act as clues” (149). Crosher’s work depicts “the vastness of the unknown—tragic crimes without resolution” (149).
Richard Long’s 1967 A Line Made By Walking has been the subject of much critical work, including a book by Dieter Roelstraete. In her essay, Laura Burkhalter calls Long’s work “a poetic and communicative response to nature,” and suggest that it “continues a British tradition of artistic landscape explorers that goes back to Constable, Turner, and Wordsworth” (152). “Particularly concerned with movement—the changes in natural elements due to weather and time, as well as his own movement through the landscape—Long continues the aims of his forefathers, as well as those of his contemporaries in the land, conceptual, and performance art genres,” Burkhalter continues (152). Long’s photographs are records that capture “the ephemeral results of Long’s practice and presence,” and A Line Made By Walking “represents the artist’s first venture into this type of art, simply presenting a line made in a nondescript English meadow by Long’s repeated pacing” (152). Later works by Long exist only as text, “offering a few specifics on distance and sights seen, but focusing on action in the same direct language” as the text below Long’s 1967 photograph. “The exact conditions of those walks, as with the day referenced in A Line Made By Walking, are left to the viewer’s interpretation,” Burkhalter continues. “We are free to guess at the meadow’s sounds and weather, as well as the thoughts of a young artist deliberately retracing his own steps. Only the elegant geometry of this image remains” (152). Another work by Long, Coyote Stones (A Five Day Walk in the Sierra Nevadas) was included in the exhibition: “It features a circle of stone, which, like the line, has become a trademark form in the artist’s oeuvre. The photograph’s title offers the duration and location of Long’s walk, as well as a poetic moniker for the stones he chose and placed” (152). “Ingrained in visual culture from Ansel Adams photographs to Hollywood films, the Sierra Nevada mountains epitomize the ideal ‘Western’ vista, and the expanse of landscape captured in this image seems deliberately chosen to celebrate that mythology,” Burkhalter concludes (152).
Ana Mendieta’s 1977 Silueta Works in Mexico is a series of photographs documenting “interventions in the land” (158). According to Liz Munsell, “[t]he merger of the human figure and nature became the signature gesture of Mendieta’s intimate earth works, which she made in solitude while traveling in Mexico and exploring the landscapes of her adopted home state,” Iowa (158). “Mendieta’s sculptural interventions were as transient as she was; as a child her parents sent her to Iowa from Havana in the midst of revolutionary transitions in Cuba,” Munsell writes. “The jarring experience of separation from her family and culture would later serve as the primary impetus of her art made while wandering” (158). Her interest in Santeria informed Mendieta’s actions, “carried out for the Silueta series as physical exercises or rituals in which she becomes one with her materials” (158). The series “documents her own personal process of healing by inserting her image into the land through incisions, gun powder, and materials resembling blood—only then to have evidence of such rituals heal over and disappear back into the land” (158). “While the Silueta series was propelled by a personal experience of transiting of the earth, it came into being only as Mendieta paused to commune with a singular site,” Munsell concludes. “There, her body—that of the maker—and her drawn, dug, and explosive figures became embedded in the earth, rather than merely gliding upon its surface” (158).
In the series Roadstains, Michael x. Ryan’s process “materializes the dark matter of life observed in his daily treks through his studio-cum-home, the bustle of raising two kids, teaching young artists, and moving about as a body in the corporeal city of Chicago,” Ross Jordan writes. Roadstains, Jordan continues, “started in the streets and sidewalks of the city, early in the morning and late at night,” where Ryan “meticulously traced the discovered liquid contours of the small disappointments of a dropped coke or beer dripping from a block party’s key” (165). “Ryan transforms splats and splotches of these incidental moments into cataclysms of undetermined scale,” and “his rigorous attention to the impressions of life reveal an interest in capturing the energetic ghosts that are in constant contact. Ryan’s gesture embalms what are mistakenly thought of as limited and fleeting moments with a faithful and devoted power” (165).
Guido van der Werve’s 2011 Nummer dertien, effugio C: you’re always only half a day away, documents the artist’s running practice, which is “part of a long lineage of endurance art,” although it does more “than test the limits of his body,” according to Charlie Tatum (169). Van der Werve’s “performances and subsequent documentation reframe repetitive physical exercise as a meditative process—one that channels the simultaneous exhilaration, exhaustion, loneliness, and boredom of everyday life” (169). Nummer dertien, effugio C: you’re always only half a day away documents a 12-hour run around van der Werve’s residence in Finland, a distance of about 65 miles. “In the equally long video, the artist, clad in a black t-shirt and black athletic shorts, appears and disappears around the corners of an orange wooden house,” Tatum writes. “The clomps of van der Werve’s sneakers interrupt the quiet sounds of nature—trees rustling, birds chirping” (169). The action is futile: “It’s unclear why he’s running, what he’s running to or from. Who is only half a day away?” (165). “Here, the unknown intentionality of exercise creates a space for reflection, imagination, and desire—for van der Werve and for us,” Tatum concludes (165).
Jane McFadden’s essay, “Trips, Tours, Traces Trespassings (And Other Tropes for Wandering)” begins with van der Werve’s work. Each time the artist passes the “middle-class, middle-brow home in Finland,” the rotation “is a dance of expectation between the pass in front of the house, which we see, and the disappearance behind,” McFadden writes:
The result is monotonous and funny—the futility of contemporary life and its routines played against possible disruptions. Such possibility is shadowed in the sounds—at one time a seeming exotic menagerie of jungle noise displaces us from this flat nether land and brings the role of mediation into view. For not only in the art of wandering, but also in our contemporary lives, is it possible to comprehend anywhere, or elsewhere, distinct from mediation. Van der Werve’s sonic compositions across his practice speak to these constructions even as the temporal duration of his video itself, as a medium, begins to forge a new place of experience for the viewer to be locked into, if only momentarily. (173)
For McFadden, van der Werve’s work recalls the Dutch artist Bas Jan Ader, “whose tragic wanderings are well known” (173). Ader’s documentation of falls suggest the way that both artists’ bodies “take on the domestic space as a material encounter—around, against, down, behind—while the site of a house/home becomes ground for futile action—a going nowhere. Each artist in turn matches such mundane experimentations against seemingly grander possibilities of elsewhere” (173).
Van der Werve’s video, McFadden continues, “is part of a series from 2010-2012 that includes a feature-length work representing an epic traversal of Europe and its histories,” and his Nummer negen, The day I didn’t turn with the world, from 2007, “similarly promises epic possibility in a twenty-four-hour stand by the artist against the turning of the globe” (173). “Filmed on the North Pole on April 28, 2007, when nothing happens, the world turns in its indifferent grandeur,” McFadden explains. “The record of this feat is accompanied by a piano composition played and recorded by the artist. At first a seeming soundtrack to make the artist’s stand heroic, it quickly becomes dissonant to the place—a marker of the history of Western civilization (its genres, its instruments) at odds with a site not yet civilized” (173-75). At the same time, McFadden continues, “it is impossible to see a sea of arctic ice without thinking of its tragic destruction at the hands of human-caused climate change, a harbinger of civilization’s possible end, against which we have little left to stand” (175). “Ader offered similar romantic explorations in his work,” McFadden continues (175). In Search of the Miraculous (One Night in Los Angeles), from 1973, documents a crossing of the city in the course of one evening; in the 1975 version of In Search of the Miraculous, Ader sailed off to his death (175). “The call of Wanderlust echoes here and along this spectrum—from the grounded mundane tasks of life, to the epic elsewheres of travel and its difficulties,” McFadden continues. “Neither cohesive nor collaborative, this exhibition presents a diaspora of wandering-physical, conceptual, visible, imaginary—in our global age” (175).
The second part of McFadden’s essay, “Tours,” begins with this statement:
A sense of wanderlust evokes the possibility of vistas both literal and figurative, shifting perspectives and opening minds; yet we immediately recognize hindrances to such a view: the wanderings of this exhibition might most easily be anchored in those that marked the eighteenth and nineteenth centuries—grand imperial and colonial adventures linked as well to the closed views and stifled movement of the slave hold, among other savagery. (175)
I was waiting for a recognition of the Romanticism inherent in Adams’s take on the exhibition, and perhaps in her curatorial approach as well, and here it is. For McFadden, exploring and exploiting were interconnected; that link “is obvious in retrospect and at Alexander von Humboldt’s legendary explorations during this period, especially those in South America, led to an original cohesive vision of world ecology succinctly illustrated in his stunning Naturgemälde of 1807. Rarely to we find such a singular visualization of a complex idea” (175-76). But the journeys that enabled this vision “also offered views of morally corrupt and environmentally destructive aspects of colonial practices, including exploitation of labor, especially in mining industries, slavery for agriculture, and resource depletion of other sorts as well” (176). “Humboldt noted the effects of this exploitative human activity on the global ecology he was also documenting—an early voice recognizing impending climate change,” McFadden writes (176).
Two centuries later, McFadden continues, “we still struggle with how to accept and act within these interrelated circumstances of ecology and industry” (176). One example is the link Wangechi Mutu makes between collage and machetes used in genocide. Her 2004 video Cutting “restages her primary practice of collage—in which she cuts images from contemporary media and reworks them into complex images of gender, race, ecology, and violence—as a physical bodily act of hacking with a machete” (177). The violence of that gesture is echoed in the contemporary refugee crisis: “Indeed, if one were to consider the appropriate contemporary analogy for wanderlust, it might be the refugee—a brutal correction of the myth of the wandering body as enlightened ideal” (177). But one doesn’t have to be a refugee to face restrictions on movement. David Hammons’s Phat Free, from 1995, in which the artist kicks a bucket down the street, “conflates a certain idleness with death” through the expression “kicking the bucket,” “an understated metaphor for the volatile danger some may face, particularly black men in America, in heading out for a walk” (177). “Constraint resonates as well in Francis Alÿs’ trudging through the contemporary urban environment in Something Making Something Leads to Nothing, 1997,” McFadden continues. “Pushing a massive block of ice through Mexico City, the artist’s labor is materially futile, ephemeral, meaningless, while also difficult” (177). The same could be said of Mona Hatoum’s 1985 Roadworks, which “evoked the struggle of moving in this space in general,” and of Pope.L’s The Great White Way, “a tortuous journey down the historic grand avenue of Broadway in Manhattan” (177). Pope.L’s “slow crawl over many years questions the exchange between power, place and access: Who has the liberty to stroll where and how?” (177-79). “Embedded, restricted, and laborious, it is a symbolic journey betraying the weight some bear in order to move,” McFadden continues. “What in turn might it mean to view these struggles within a gallery space, to tour them ourselves with a liberated glance? Do we bridge one experience and another, or perhaps, more accurately, consider an unapproachable divide? Do we see in ourselves the role of perpetrator as Mutu’s [work] suggests, if we can see at all?” (179).
The essay’s third section, “Traces,” begins with Nancy Holt and her 1969 work Trail Markers, which explores, according to McFadden,“the limits of our seeing,” and the way “[t]he camera hides as much as it reveals” (179). Trail Markers’ images, “focused low as to avoid the perspective of a broad horizon, obscure any broad vision of this place,” and the orange trail markers “direct the viewer, yet provide no logic for the grand moor and its ancient histories” (179). In contrast, Zoe Crosher’s LA-LIKE: Transgressing the Pacific “uses the vagueness of photography to construct” by “[d]ocumenting supposed sites of disappearance from stories both actual and fictional” and thereby encouraging viewers ‘to build a narrative from such limited ground” (179). Crosher’s images “play with the meaning of place in real and imaginary narratives” (181), while Sophie Calle’s work “constructs narratives where one might not have been—targeting a stranger to become a protagonist in her work,” as in her 1980 Suite Vénitienne, in which “an unknown figure takes on the potential of a fictionalized thriller despite its mundane reality” (181). Calle’s work, McFadden suggests, “is a reversal of the uncomfortable gender roles in Vito Acconci’s earlier work Following Piece” (181). “Each work, in turn, is strangely intimate and deliberate in light of our contemporary realm, where an educated populace would expect at almost all times to be surveyed visually and digitally,” McFadden notes. “To follow someone no longer requires a wandering through space and time but the mere click of button to witness their own self-surveillance and construction” (181). “Within all this visibility of our contemporary world and an exhaustion of images, it is perhaps the invisible to which we should stay attuned,” McFadden writes (181). She suggests that Millie Chen’s 2014 Tour, where the artist travels to four locations in which horrific events have occurred—Murambi, Rwanda; Wounded Knee, South Dakota; Choeung Ek, Cambodia; and Treblinka, Poland—is one example of such attention. “This work is one in a careful dialogue regarding the necessity of representing the unrepresentable or making visible the invisible, and the perils of doing so, most clearly anchored in the philosophical devastation of the Holocaust” (181). “[A] recurring trope in Chen’s own video tour, which itself revisits the Holocaust as well in the site of Treblinka, is the use of grasses and reeds to obscure vision, blocking a horizon of escape,” she notes (181-84).
The fourth section of the essay, “Trespassing,” links land art to the Western film and TV genre. McFadden cites Dave Hickey’s critique of land art as “an elaborate form of ‘trespassing’” (184). For Hickey, the media construction of the Western “was a key to works made of elsewheres” (187). Meanwhile, at about the same time, André Cadere, a Romanian artist working in France, “was constructing simple wooden rods, ‘barres de bois rond,’ that he would take to the street for ‘promenades’” (187). Sometimes Cadere “would stage exhibitions in various locations, and even assert his work in galleries and exhibitions, an act of occupation. Such tactics speak to the placelessness of his work against the more cogent strategies of the established art world—deliberately so” (187). Gabriel Orozco “stages the ephemerality of belonging often in his work, particularly in the famous Yielding Stone, 1992, which takes wandering as its principle,” McFadden continues. The Plasticine ball “serves as material and visual metaphor for the traveling artist himself (originally from Mexico, now a global citizen), as a physical manifestation of a complex web of negotiation, much less grounded” (187). Orozco’s “rolling mass” reminds McFadden of “Michelangelo Pistoletto’s earlier Walking Sculpture, 1969, a spherical volume of materials, a ‘minus object’ that he rolled through the streets” (188). And that work makes McFadden think of Rosemarie Castoro’s Gates of Troy. “Held in a liminal space, ‘at the gates’ of the art world, she, like Achilles, displays rage,” McFadden writes. “And why not? Decades later, Mary Mattingly again hauls sculpture through the street, accumulations of the soul-stuffed American Dream, and a later yet resonant image of a woman struggling against the waste and corruption of contemporary society” (189). “Is one logic of wanderlust, then, that of escaping the global traps of capital?” McFadden asks. “Here we could even return to Ader’s early fall and loss, as somehow inevitably grounded by the execution of his father at the hands of the Nazis for providing shelter for refugees?” (189). “A term that began with the promise of vision and seeking might end in shadow,” she concludes. “It is perhaps no surprise, in turn, that Janet Cardiff and Georges [sic] Miller’s Night Canoeing, 2004, which records a murky evening on the water, with vision blinded by fog and light, the rhythmic sounds of the oars only a reminder of our displacement, might become a guide to the whole endeavor” (189). For, McFadden writes, “the essential feature of human wanderlust is the embrace of the unknown, as alternative to what we already see” (189).
Now the text returns to the third group of artists included in Wanderlust, beginning with Bas Jan Ader’s 1975 In Search of the Miraculous. Ader, writes Lynnette Miranda, “investigates the limits of humanity through documented performance work that practices vulnerability and embraces the persistence of failure. In his endless search for the unknown, Ader’s work focuses on the psychological journey of the everyday by connecting body, mind, and site in each of his explorations” (192). In Search of the Miraculous was supposed to involve a solo voyage in a small sailboat across the Atlantic Ocean, from North America to Europe: “This voyage, a deliberate conceptual artwork, would lead to his disappearance, and eventually establish him as a cult figure in contemporary art” (192). The work was supposed to be in three parts: one walk across Los Angeles at night to the ocean; the voyage across the Atlantic; and a walk through Amsterdam. Photographs documenting the walk across Los Angeles, completed in 1973, were exhibited in 1975, before Ader set sail for Europe. Three weeks into his voyage he disappeared. In Search of the Miraculous, Miranda continues, “exists as physical remnants from this multipart project, but more importantly, the work itself is the enigmatic narrative around Ader and his true intentions behind the voyage. His disappearance becomes part of the work, serving as a poignant metaphor for our collective existential pursuit of the sublime” (192). Ader, a “tragic, yet romantic figure,” according to Miranda, “remains forever wandering in the contemporary art psyche, reminding us of the significance, beauty, and melancholy that is wrapped into the physical, mental, and emotional journey through daily life” (192).
According to Lexi Lee Sullivan, Roberley Bell’s work questions “our increasingly complicated relationship to the natural world” (197). The Wanderlust exhibition included photographs from Bell’s 2015 series of photographs, Still Visible, After Gezi. During a sojourn in Turkey in 2010, Bell began photographing “the city’s gnarled trees, knotted and stumped with time” (197). She returned five years later, hoping to find and document the trees she had photographed during her daily walks in 2010. “The series takes its name after Gezi Park in Istanbul, the site of demonstrations in 2013 when the government attempted to raze the park to construct a commercial mall—a protest that grew into a massive public sit-in against the prime minister in an appeal for civil rights,” Sullivan notes (197-98). It was harder than Bell had expected to find the trees, but the search “became a means for Bell to reconnect with her adopted community” (198). “It also acquired a political dimension as city residents lamented their growing frustration with urban planning and more expressly the Turkish government, a dark foreshadowing of the years of unrest and the failed governmental coup in 2016 to follow,” Sullivan concludes. “As such, Bell’s steps ultimately became part of a larger project, an experiential mapping of the city. In her hunt for these natural symbols of an idealized past, Bell assembles an allegory for Istanbul” (198).
Sophie Calle’s 1980 Suite Vénitienne has already been discussed by McFadden, but Lucy Ainsworth examines the work in more detail. Calle’s practice involves randomly selecting subjects to follow, “who unwittingly reveal snapshots of their lives to the artist as she photographs them and takes notes from afar,” Ainsworth writes:
In Suite Vénitienne (1980), Calle sets herself a new objective—to travel to Venice to follow a man she previously trailed and coincidentally met in Paris. Calle plays detective on a case with no clear directive. She is uncertain what it is she wants to discover yet is driven by a sense of lust and the journey of possibility. The outcome is a series of images with dialogue that piece together a deductive narrative about a man named Henri B. (202)
For Ainsworth, “Suite Vénitienne is the ultimate endurance work,” and “Calle gives herself entirely to the process, exploring all possible opportunities to discover more about her subject” (202). Calle also discovered how far she was prepared to go to make the work: “She dresses in disguises, performs stakeouts and draws unknowing assistants into her master plan. She is brave in pursuit, yet always remains fearful of being discovered” (202). The physical act of walking—of “roaming the streets, covertly observing Henri B.’s movements” (202)—is central to the project. Henri B.’s activities are mundane, yet “the viewer becomes engrossed and shares in Calle’s thrill of the chase” (202). “Like many of Calle’s works,” Ainsworth concludes, “Suite Vénitienne ultimately reflects on what it means to be human with all our idiosyncrasies” (202). And, I have to add, despite the different gender dynamics, Suite Vénitienne is just as creepy as Acconci’s Following Piece—at least Acconci’s documentation is a reconstruction of what happened, whereas Calle’s photographs appear to be images of her actual quarry.
In 2004’s Night Canoeing, Janet Cardiff and George Bures Miller “read three-dimensional space through observation and the character of heard sound,” writes Pamela Campanaro. “Their video and three-dimensional sound fields, known as ‘audio walks,’ explore how the spatial qualities of sound can elicit a physical presence and range of sensations that affect the perception of reality” (207). They use binaural audio recordings to reproduce sound the way we hear it, overloading the viewer’s (or auditor’s?) senses, “allowing them to escape or transcend their body or self” (207). Night Canoeing is an audio and video installation “that sculpts reality into cinematic fantasy during a middle-of-the-night canoe trip” in which Cardiff and Miller travel across a body of water “lit solely by a bright lamp that unsteadily illuminates floating lily pads and tree debris along the riverbank” (207). Their presence is recorded by ripples in the water and “the audible contact of the canoe paddle pulling through the water” (207). According to Campanaro, “[t]his soundtrack is flooded by a rhythmic tempo or cadence that punctuates the journey as they explore how sculpture can exist as a physical gesture or durational experience” (207).
Millie Chen’s 2014 video Tour, according to Anna Kaplan, “is simultaneously beautiful and terrifying, mundane and extraordinary, simple and complex, exhilarating and numbing” (211). “The imagery is straightforward both in concept and execution—a narrow view of the ground over which the camerawoman (Chen herself) traverses at a moderate pace,” Kaplan continues. “The land is slightly overgrown, ignored, and unremarkable. The view through the lens of the handheld camera is shaky as it responds to Chen’s movements across the landscape,” a technique that “allows for a certain empathy with the person behind the camera; it is easy to imagine oneself in Chen’s place, walking the terrain” (211). But that terrain is the space of genocide: Murambi, Rwanda; Choeung Ek, Cambodia; Treblinka, Poland; and Wounded Knee, South Dakota. Chen describes these places using the term “lament geography” (qtd. 211). “While the film’s transitions are seamless, a brief text, identifying the exact place and dates that the atrocities occurred, alerts the viewer to the change in site,” Kaplan writes. “Vocalists respond without using words to traditional lullabies from the native languages of the four sights [sic], lulling the viewer into a mesmerized state of serious contemplation” (211). “Through Tour, we as viewers become witnesses to the process and therefore to the history of the land the artist wishes to reveal,” Kaplan concludes. “As witnesses, we cannot deny or ignore what has happened on this land, or we are doomed to be accomplices” (212).
David Hammons’s video documentation of his performance Phat Free, influenced by Arte Povera, Conceptual Art, and the ready-made, shows the artist kicking a bucket down a New York street at night. “The title of the video, Phat Free, is representative of how Hammons employs colloquialisms, idioms, and wordplay to elicit multiple readings of quotidian objects and actions,” Zoë Taleporos writes. “In this case, the artist is referencing processed diet foods that have become ubiquitous in American culture, while also indicating musical genres with African American origins. ‘Phat’ refers to slang incorporated in rap and hip-hop meaning ‘cool’ or ‘good,’ with ‘Free’ referring to the improvisational, unrestricted nature of jazz” (217). But the act of kicking the bucket also suggests death (through the phrase “kick the bucket”), which may, Taleporos suggests, allude to “a dismal fate often accompanying the black urban experience,” while at the same time the action refers to the children’s street game “kick the can” (217). For Taleporos, Hammons’s work creates “entertainment and value from discarded objects of the urban landscape” (217).
Mona Hatoum’s 1985 Roadworks is video documentation of a performance in south London, in which the artist walked barefoot “across rough pavement with Doc Martens bound to her ankles” (220). Conor Moynihan suggests that this work is important in both the history of performance and of feminist art: “Roadworks responds to very specific political and social conditions experienced in the United Kingdom—London in particular—during the 1980s: Margaret Thatcher’s stop-and-search police tactics, England’s 1981 race riots, and the racism of National Front skinheads” (220). “More broadly,” Moynihan continues, “Roadworks interrogates the politics and complexity of public space and the urban environment” (220). The performance took place in Brixton Market, one of the sites of the 1981 riots. It was “a working-class, vastly Afro-Caribbean neighbourhood struggling with unemployment, crime, and a lack of resources; a neighborhood pinned between Doc Martens-wearing skinheads and similarly clad police” (220). For Moynihan, “Hatoum’s feet become metaphoric: bare and unprotected, vulnerable to the hard press of the pavement beneath them” (220). Roadworks, he continues, “demonstrates attention to a more generalized human vulnerability and perseverance,” and from this perspective, it addresses the conditions of Britain in the middle of the 1980s “from the vantage of objects and motifs more universally accessible: in this case, the human feet and the act of walking” (220). “Through this joining of specificity and universalism—and despite significantly changing social and political contexts—her performance finds as many resonances today as it did in 1985,” Moynihan concludes, “demonstrating how Hatoum’s masterful use of ordinary objects and simple gestures can speak powerfully across temporal, spatial, and social lines of demarcation and separation” (220-21).
Nancy Holt’s 1969 Trail Markers photographs have been discussed at length by Adams and McFadden. Whitney Tassie notes that Holt is a land artist, one of the few women associated with that movement. Holt’s use of photography in Trail Markers “was integral to land art and Holt’s practice alike,” Tassie writes (224). Holt’s photographs of trail markers in Dartmoor National Park demonstrates “longstanding interest in human interventions in the landscape as well as her participation in the new conceptual photographic strategies of the time” (224). “For Holt, a pioneer of time-based media, the camera is crucial to her exploration of space, sculptural form, and subjective perspective,” Tassie continues. “Her photographs, films, site-specific installations, earthworks, public sculpture, and even her personal flashlight and audio tours transform our perception of place, space, and time. Focusing our vision and challenging our understanding of our environment, Holt’s work draws attention to the complexities of our relationship with the landscape we inhabit and act upon” (224).
“William Lamson is best known for his performances in the landscape, human-scale actions, and aesthetic gestures, all of which help categorize him as a performer with a filmmaking practice or, perhaps, a filmmaker with a performative practice,” writes Ian Cofre. “In Untitled (Infinity Camera), the distinction is stretched as he removes himself as an actor and relinquishes control of the camera” (229). In these photographs, Lamson repurposes “two halves of a canoe” to build “a mirrored, lens-based system to record this optical experiment” (229). “The imposed constraints interact with the physical forces of this estuary, its variance and monotony, impacting the film’s time dilations and reductions, whereby, as the artist proclaims, the ‘drama is the speed,’” Cofre continues. “The current helps to capture the natural border’s surroundings: urban space that includes buildings from different periods of history, bridges, passing cars, and pedestrians or joggers on their daily routes” (229-30). For Cofre, the result resembles a dérive, and “the work is the river’s own psychogeography, cataloging time through subtle and unexpected encounters with the terrain. In one frame, the device reflects and translates an image and object, which allows us to bear witness to the reverie of the rivery perspective” (230). Lamson’s project sounds interesting, but it’s hard to understand what the device he built to take the photographs actually looked like from Cofre’s description. I would have to do more research to understand exactly how these photographs were made.
Marie Lorenz’s 2017 Gyre is related to her practice of building and sailing hand-made boats. It presents casts of objects she has collected from the waterways she has sailed. According to Cattarin, Gyre “gives the viewer a chance to experience a part of her journeys, to feel like they’re floating along with her” (236). That’s a rather obtuse reading of a work that is clearly about the effect of plastic garbage on the environment, isn’t it? Or is plastic garbage in rivers and canals just taken for granted now?
Carmen Papalia’s 2017 Blind Field Shuttle is a “perceptual tour,” “a piece in which up to fifty people can accompany the artist on a walk with eyes closed through urban and rural spaces,” as Jamilee Lacy writes (241). Papalia is blind, and works like Blind Field Shuttle “dismantle the hierarchy of sensory perception to build trust and interpretive skills among audiences” (241). The work was commissioned for Wanderlust, and it was part of his Open Access project, which “positions the support-seeking individual as the expert who can define and author his or her own accessibility measures” (242). For Lacy, Blind Field Shuttle constructs “a new paradigm of disability and agency as experientially liberating, creative forces within the built and natural environment” (242).
In The Great White Way, 22 Miles, 9 Years, 1 Street (Whitney Version #2), performance artist Pope.L, wearing a capeless Superman costume and with a skateboard tied to his back, “crawled, and sometimes wheeled, his way down Broadway—New York City’s longest street” (247). Pope.L’s installation that documents this action both uses and dismantles “new media conventions of display,” according to Andy Campbell (247). “The Great White Way is shown via a monitor resting on a hardened pool of black resin,” Campbell writes. “The installation’s materials compress time in the same way that the performance’s documentation must too, stringing together segments of a performance carried out over a period of nine years” (247). For Campbell, the installation addresses the problem of performance art’s liveness versus its documentation: “Brilliantly, Pope.L’s installation turns this on its head, suggesting that an aesthetic education (which Gayatri Spivak has defined as ‘training the imagination for epistemological performance’) can still be a rebuke from the ground” (247). The focus on the installation is interesting, but Campbell unfortunately says little about what it might mean for an African-American man wearing a Superman costume to crawl down Broadway.
Teri Rueb’s 2017 Times Beach is a response to “the varied history of the Times Beach Nature Preserve, located on the outer harbor just east of downtown Buffalo,” Adams writes. “The site was a vital resource for Native Americans who, for centuries, lived along Lake Erie and the Niagara River. As Buffalo grew into a mega city in the late 1800s through its massive industrial prowess, the site was transformed to an urban beach, but eventually closed due to contamination” (251-52). The site has been cleaned up and is now a nature preserve. Rueb’s sound walk “is designed to weave sonic traces of the site’s history as the participant walks through the preserve,” Adams continues. “Through a free downloadable app, the participant is invited to wander the site, allowing for an overlapping history of the site to come into focus” (252).
In his 2017 work U.S. Customs and Border Protection, Todd Shalom takes participants on an artist-led walk. He “structures walks, like poetry, around a planned route with an established concept and (sometimes narrative) arc,” writes Lamensdorf. “But, also like poetry, the walks encourage individual participants to have subjective experiences. The participatory walks are a framing system in which to explore and expand how people interact with and experience public space” (257). According to Lamensdorf, Shalom’s “practice of poetic decision-making” is foundational to his work, “and participants often experience and engage with this in the performative and improvisational aspects of a walk” (257). U.S. Customs and Border Protection, which was commissioned for Wanderlust, took participants over Buffalo’s west side and ended at the Peace Bridge, which crosses the Niagara River to Canada. “An artistic practice built on walking evokes the legacy of the Situationist International and Guy Debord’s theory of the dérive, which centred on drifting through urban spaces as an act of resistance to material and commercial culture,” Lamensdorf continues. “Shalom’s walks hinge on this tradition and incorporate the medium’s inclination towards physical exploration, immediate experience, and creating spaces for communal engagement and personal reflection. Yet, he furthers the work by structuring it enough to be repeated, while leaving it open to interpretation” (258). Shalom’s approach “expands on the idea of site-specific or site-responsive art practices, which are typically rooted in architecturally, culturally, and historically resonant facets specific to a stationary position,” Lamensdorf concludes. “Shalom’s walks incorporate the fluid ballet of everyday life, moving through neighbourhoods, changing environments, and incorporating chance into the work by inviting participants to actively make the work. There is no walk if Shalom has no one to prompt into movement” (258).
Greg Stimac’s 2009 Driving Photographs series captures and aestheticizes “the bug splatter he accumulates on his own travels” during long car trips (265). Natalie Fleming notes that Stimac’s works “are almost identical, constellations of tiny bodies broken on glass, distinct like the stars above that rotate as the earth moves” (265). His large photographs put “the human experience in perspective: a thousand lives lost for a road trip at night, a car rushing through the air, as others have done and will do, under an infinite sky” (265). As with Cattarin’s discussion of Lorenz’s Gyre, though, there’s something obtuse here: insect populations are in freefall due to human activity, (Carrington) and Stimac’s photographs arguably also document a small part of the ongoing ecocide. Is aestheticizing an ecocide an ethical activity? I’m not sure.
Wanderlust isn’t just about walking art, although there is enough walking art included in the book’s pages (and on the exhibition’s walls) to make reading it worthwhile. I wish I’d had a chance to see the show. As with other catalogues of exhibitions of walking art, I am struck by the array of practices that use or allude to walking in some way or another, although I think that most of what is included here belongs in the category of performance. The longer essays are useful for my project, particularly Waxman’s account of the proto-Surrealists’ walk between Blois and Romorantin, which I didn’t know about previously. One of my immediate responses to Wanderlust is to think about the importance of photography as a way of documenting walks, but also the importance of sound recording. Perhaps I could make use of both of those techniques. It’s worth considering.
Works Cited
Adams, Rachel, ed. Wanderlust: Actions, Traces, Journeys, 1967-2017, MIT Press, 2017.
Austin, J.L. How To Do Things With Words, Oxford University Press, 1962. https://pure.mpg.de/rest/items/item_2271128/component/file_2271430/content.
Carrington, Damien. “Plummeting insect numbers ‘threaten collapse of nature.’” The Guardian, 10 February 2019. https://www.theguardian.com/environment/2019/feb/10/plummeting-insect-numbers-threaten-collapse-of-nature
Roelstraete, Dieter. Richard Long: A Line Made By Walking, Afterall, 2010.
