Index
“absent artist,” 128–30. See also Sen, Mithu
Adajania, Nancy, 129–30
aesthetics of hospitality: basic vs. excessive, 92, 107; clothing, 32–34, 38, 44–45, 63–64; as democratizing, xviii, xxiv–xxvi, 2, 22, 65, 108, 135, 179, 180; duration and time, 41, 44, 152; as hierarchical, xvii, xix–xxii, xxii, 62, 93, 157–58, 176; meals and cooking, 60–68; painting and, 177–78; senses and, 178; sensual being with, 70, 75–76, 81; shelter and environment of hosting, xxii, 90, 178; sleeping, 68–72, 81; voice and sound, 32, 34, 38, 44, 48–49, 53, 59, 70, 114. See also Aptekar, Ken; Brides on Tour; Embracing Animal; galleries; Greeting Committee Reports . . ., The; Hattendorf, Linda; Lee Mingwei; Living Room, The; Prvački, Ana; Sen, Mithu; Waiting; Wait-With
Agantuk (The Stranger), 114
alien (unwelcoming), 126–27
American Civil Liberties Union, 188n23
American dream, 131
Animal Attraction (Kathy High), 89
Animal Films (Kathy High), 89–90
animals: and bioart, 86, 95–97, 102, 106–7; experimentation on, 100–101, 107, 197n27; as gifts, 85–86; and hosting the animal, 90–94; as pets, 89. See also High, Kathy
Animal Welfare Act, 101
Appiah, Kwame Anthony, 9–10
Aptekar, Ken, 163–81
arthritis, 87
artist residencies, 122
authenticity, 8–9, 13, 16, 27–28, 49
autoimmune diseases, 87, 97, 100–101
Bacca, Pippa Giuseppina (Giuseppina Pasqualino di Marineo): and More Than, 147. See also Brides on Tour
Baderoon, Gabeba, 163
Bal-Blanc, Pierre, 202n14
barbarity, 22
Barthes, Roland, 42
Becoming Animal, 102
Blackfish (Gabriela Cowperthwaite), 65, 103
Blocker, Jane, 42
borders of nation-states. See Brides on Tour
Bose Pacia Gallery, 113
Bourriaud, Nicolas, 193n6
Brides on Tour (Pippa Bacca): and Bacca, murder of, 136–38, 161–62; Bacca and Moro, separation of, 150–52; and Catholicism, 140; and cultural sensitivity, 156–58; and hitchhiking, 143–44, 159; and hitchhiking, perceived dangers of, 147–52; and inequalities, 157–58; legacy of, 159–61; as naive, 138; and neocolonialism, 139, 158–59, 161; preparation for, 142–43; in public space, 159–61; and race and privilege, 138; and safety, 150; and universal hospitality, 137, 159–62, 173
Bui, Long T., 194n25
California Institute of the Arts (CalArts), 32
Carlebach, Felix, 170
Carlebach, Sula, 170
Carlebach family, 165, 173, 178; towel of, 168–72
Catholicism, 140
Cats of Mirikitani, The (Linda Hattendorf), ix–xv, xvii–xviii, xxi–xxiii, xxvii, 135, 152–54, 176–77
Cavalchini, Pieranna, 79
Chatterjee, Sushmita, 115–16
Christov-Bakargiev, Carolyn, 10, 11, 22
cisgender, 36, 57–58, 70. See also femininity; gender; masculinity; women
citizenship, ix, xi, xiii, xv, xxi, 163
civility, 2–4, 5. See also etiquette
Clark, David, 92
colonialism, 7
Connor, Maureen, 195n26
Connors, Joanna, 153–54
contagious hospitality. See Greeting Committee Reports . . ., The; Hattendorf, Linda
Cook, Carrie L., 155
Cowperthwaite, Gabriela, 85, 103
Curtz, Joël, 138–42. See also Mariée, La
Dancoff, Judith, 32
Davis, Angela, 51
de Menezes, Marta, 197n27
Demetrakas, Johanna, 32, 33, 35, 42
Demnig, Gunter, 201n6
Derrida, Jacques, xvi, 23, 46, 53, 57, 90–94, 157
di Marineo, Giuseppina Pasqualino (Pippa Bacca). See Brides on Tour
Dining Project, The (Lee Mingwei), 60–68
displacement. See refugees
documenta, 6, 9–28, 177–78. See also Prvački, Ana
Domela, Paul, xxv
domestic employment, 36–38
Duffy, Carol Ann, 54–55
economic disparities, 130–33
Elmas, Bingöl, 159–60
Embracing Animal (Kathy High): on connection with rats, 89–90, 99–101, 110; critics of, 95–96; on habitat for rats, 96–97, 98–99, 101, 103; inspiration for artwork, 86–87; on rats’ care, 102–5; on rats’ perspective, 97–102, 104, 108–10; and repulsion to rats, 88–89, 98, 103–5, 121; rescue of rats, 94–95
emotional labor of hospitality, 29
Erpenbeck, Jenny, 190
Esta (Russian artist), 1–2, 19–22
etiquette, 1–2, 6–7, 12, 15–16, 24–25. See also Prvački, Ana
Etiquette (edited by Ron Scapp and Brian Seitz), 2–5
exclusion, xvii–xviii, 160–61. See also othering
Facchini, Manuel, 142
Farrington, Lisa, 37
fear, xix, 93, 111; as control, 154–58. See also Brides on Tour; Hattendorf, Linda; Lee Mingwei
Feast: Radical Hospitality in Contemporary Art (Stephanie Smith), xxv
Federal Ethics Committee on Non-Human Biotechnology, 107
femininity, xviii, 180. See also gender; masculinity; Wilding, Faith; women
Feminist Art Program (FAP), 32, 37
Finkelpearl, Tom, 64–65
Free-Range Kids, 149–50
Fried, Michael, 40
Friedan, Betty, 36
galleries: as elitist spaces, 77; vs. “real world,” 22, 155, 158–61; redefinition of, 194n15; as “safe,” 66–68; visitor base, 72
Gardner, Isabella Stewart, 74, 75–78
gender, xvii–xviii, 57–58, 71, 81–83. See also femininity; Lee Mingwei; masculinity; Wilding, Faith; women
Germany, 11–14; Nachbarn/Neighbours (Ken Aptekar), 168–81. See also Greeting Committee Reports . . ., The
Go, Went, Gone (Jenny Erpenbeck), 190n15
Graupe, Raisi, 169–70
Greeting Committee Reports . . ., The (Ana Prvački): critics’ response to, 25; as empathetic, 25–28; and hostess, ideal of, 23–24; and immigrant staff members, 13–14; in public sphere, 22; training videos, 16–22
guests: expectations of, 60–68; and hospitality, demand for, 138; and hospitality, withdrawal of by host(ess), 125–30. See also Brides on Tour; host(ess); Lee Mingwei; Sen, Mithu
Gul, Abdullah, 137
Hammer Museum (Los Angeles), 6, 9
Haraway, Donna, 86–87
Harper, Paula, 39
Hattendorf, Linda, ix–xv, xvii–xviii, xxi–xxiii, xxvii, 135, 152–54, 176–77
Hawley, Anne, 78
heteronormativity, xvii, 52, 57–58, 92. See also femininity; gender; masculinity; women
High, Kathy: artworks of, 86, 89–90; and autoimmune disease, 87, 100; and Jainism, 106–10; and pets, 98, 101–2, 106. See also Embracing Animal
Hila, Edi, 177–78
hitchhiking. See Brides on Tour
Holocaust, 12, 14, 69–70, 164–72
homelessness, xix–xxi, xix–xxi, 153. See also Mirikitani, Jimmy
homophobia, 82. See also femininity; gender; masculinity; women
hospitality, xv, xxii, 94; defiant, 180–81; as gendered, xvii–xviii, 57–58, 71, 81–83; ideal of, xvi–xvii, xvi–xvii, xxi, 135, 157; as inadequate, 169, 178; and motives for, xiii–xiv, xix, 187n7; as resistance, xv, xxi–xxii, 43; scholarship on, xv–xvi. See also aesthetics of hospitality; Aptekar, Ken; Carlebach family; Lee Mingwei; Wilding, Faith
Hospitality (Edi Hila), 177–78
hospitality industry, 4, 7–8, 118, 195n26
host(ess): absence of, 127–30; gendered expectations for, 82–83; ideal of, 22, 23–24, 31–32, 52, 66; invisible labor of, 80–81, 118; and power and privilege, 121–22. See also Lee Mingwei; Sen, Mithu; Wilding, Faith
hybrid art spaces, 194n22
“I Cannot Myself” (Gabeba Baderoon), 163
I Have Only One Language (Mithu Sen), 111–12
immigration, xvi–xviii, xx–xxi, 2, 6–7, 14–15, 177
incarceration, 188n23
Institute for Justice, xxi
intersectionality, 191nn6–7
Isabella Stewart Gardner Museum, 79
Italy. See Brides on Tour
It’s Good to Be Queen (Mithu Sen): artist’s absence, 125–30; description of artwork, 119–25
Jack (Russian artist), 1–2, 19–22
Jacobsen, Carol, 188n23
Jainism, 105–10
Japanese internment camps, ix, xi, xiii
Jones, Amelia, 36
Judi Rotenberg Gallery/Videospace, 87–88
Kant, Immanuel, xvi, xxii, 11, 57, 66
Kataoka, Mami, 59
Kayman, Murat, 166
Keshishyan, Vartouhi, 9, 16–17, 26
Kester, Grant, xxv
Khan, Shah Rukh, 116
Knigge, Adolph Franz Friedrich Ludwig, 11–12
Kochi-Muziris Biennale, 111–12
Krell, David Farrell, 2–3, 22, 28
Kugler-Weimann, Heidemarie, 166
Lacy, Suzanne, 59
language, 143
Larson, Kay, 70
Lawlor, Leonard, 92–93
Lazarus, Emma, xvi–xviii, xxi, 135, 153
Lee Mingwei: art as participatory installations, 58–60; and democratizing of hospitality, 75–78; and The Dining Room, 60–68; inspirations for, 80–81; and The Mending Project, 81; as original category of art movement, 194n23; and participants, 81–82, 112, 135; and The Sleeping Project, 68–72, 81. See also Living Room, The
Levinas, Emmanuel, xvi, 23, 34, 46, 53, 57
Liberation of Aunt Jemima, The (Betye Saar), 37–38, 51
Little Red Riding Hood, 153–54
Living Room, The (Lee Mingwei), 71–72, 73–81, 85, 95, 108
Lover’s Discourse, A (Roland Barthes), 42
MacKinnon, Catharine, 108
Malašauskas, Raimundas, 25
Mariée, La (Joël Curtz), 138–42, 143, 150–52, 161
Martínez, Chus, 27
masculinity, xviii, 42, 62, 72, 180. See also Brides on Tour; gender; Lee Mingwei; Wilding, Faith; women
Masharawi, Rashid, xii
Massachusetts Museum of Contemporary Art, 88, 102–3
Mathur, Vasundhara, 131
Matthew 25:40 Ministry, xx
McClister, Nell, xii–xiii
men. See masculinity
Mending Project, The (Lee Mingwei), 81
Mernissi, Fatima, 53–54
methodology, xxvi
#MeToo movement, 161
microaggressions, 4–5
microcourtesies, 2, 4, 28. See also etiquette
Mirikitani, Jimmy, ix–xv, xvii–xviii, xxi–xxiii, xxvii, 135, 152–54, 176–77
misogyny, 82–83
More Than (Pippa Bacca), 147
Moro, Silvia. See Brides on Tour
Nachbarn/Neighbours (Ken Aptekar), 164–81; and neighbors, definition of, 168
“New Colossus, The” (Emma Lazarus), xvi–xviii, xxi, 135, 153
9/11, 68
Obama, Barack, 149
Odysseus/Ulysses, 30–31, 34–36, 54–55
oikonomia, 94
Oliver, Kelly, 93
Olympic Games, 15
OncoMouse, 86–87
On Human Relations (Adolph Franz Friedrich Ludwig Knigge), 11
othering: and disempowerment, xvii; of Japanese Americans during WWII, ix, x, xv; of Muslim Americans after 9/11, x, xv; through traditions of hospitality, 117
participatory installation, 58, 60
patriarchy, 129. See also femininity; gender; masculinity; Waiting; women
Penelope, 30–31
“Penelope” (Carol Ann Duffy), 54–55
People for the Ethical Treatment of Animals (PETA), 101, 106–7
Peredvizhniki movement, xxiii
performance, 9, 31; and duration and time, 41, 44, 152; and participatory installation, 58, 60; and voice, sound, audio, 48–49
Pippa, 160
Pippa’ya Mektubum (Bingöl Elmas), 159–60
Plato, xxii–xxiii, xxiv
pogrom, 174–75
positionality, xviii
power hierarchies, xvii, xix–xxii, xxii, 62, 93, 157–58, 176
Prien, Alla, 166
Prien, Tim, 166
privilege, xviii, 7, 121–22, 138, 187n7
profiling, 147–52
propaganda campaigns, 11; state-sponsored, 7–8, 15–16. See also Prvački, Ana
proximity, 114–15; preciousness, 121
Prvački, Ana, 27–28, 80, 157, 170, 180. See also The Greeting Committee Reports . . ., The
Prvački, Delia, 24
Prvački, Milenko, 24
race and ethnicity, 51, 64–66, 115–16, 147–52, 159–61, 194n23
radical hospitality, 130. See also It’s Good to Be Queen; Sen, Mithu
Rainbow Sign, 37
Raqs Media Collective, 73, 194n22
Raven, Arlene, 40
Ray, Satyajit, 114
Reckitt, Helena, 195n27
redemption, xii
relational aesthetics art, xxiii, xxiv
Rhine, Dont, 48–49
Riggs, Samantha, 155
Riveloté, Anna, 52–55
Roberts, Dorothy E., 37
Rockaby (Samuel Beckett), 40
Rowes, Jeff, xxi
Rubinstein, Lev, 174–75
Russia, xxiii, 1–2, 19–22, 52–55; and immigration experience in United States, 113–16, 126–27; Soviet, 7–9, 16, 25, 148
Ryvold, Silje, xii
Schor, Mira, 33
Schreiber, Albrecht, 166
segregation, 3–5
Sen, Mithu: as artist, 118–19; artworks, 112–13; I Have Only One Language, 111–12; personality of, 113–16; and race, 115–16; radical hospitality, 111–13; as testing hospitality, 111–12, 125–26, 127–33, 135–36; UNhome, 130–33. See also It’s Good to Be Queen
Shalson, Lara, 40
Shapiro, Michael J., xii
Shapiro, Miriam, 32
Simmons, Harold, 100–101
Singapore. See Prvački, Ana
Singapore Kindness Movement, 7–8, 15
Sleeping Project, The (Lee Mingwei), 68–72, 81
smile, 180. See also microcourtesies
Smiley, Sam, 87–88
Smith, Stephanie, xxv
social justice movements, xviii
social practice art, xxiii, xxiv
southern hospitality, 4–5
Southern Hospitality Myth, The (Anthony Szczesiul), 4–5
Starr, Bala, 25–27
Statue of Liberty, xvi–xviii, xvi–xviii, xxi, 135, 153
Stolpersteine project, 166
surveillance, 74
Tallant, Sally, xxv
Taurog, Joel, 87
TerKeurst, Lysa, 163–64
This Is Not Sufficient (Leonard Lawlor), 92–93
Thompson, Nato, 102
Thousand Plateaus, A (Gilles Deleuze and Félix Guattari), 102
Tiravanija, Rirkrit, 193n6
Turkey. See Brides on Tour
unconditional hospitality. See Waiting
Unexpected Guest, The: Art, Writing, and Thinking on Hospitality (Sally Tallant and Paul Domela), xxv
UNhome (Mithu Sen), 130–33
Uninvited (Lysa TerKeurst), 163–64
United Nations High Commissioner for Refugees, xv
Valentino, Shane, 16
Verleger, Rolf, 166
#Viajosola (I travel alone), 155
violence against women. See Brides on Tour
WACK! Art and the Feminist Revolution, 43, 51
Waiting (Faith Wilding): continued relevance of, 43, 51–52; filmed performance, 49; and ideal of domesticity, 32–34; and passivity, 32, 39–42, 44–46, 57, 80; and patriarchy, 51; response to, 34–36, 40, 42; televised performance of, 41–42, 51; theatrical influences on, 39–40; voice, sound of, 32, 34, 38; and Wait-With, 43–44, 49–55; and whiteness, 51
Waiting for Godot (Samuel Beckett), 31, 39–40
waiting man. See Lee Mingwei
Wait-With (Faith Wilding): audience, direct participation of, 47–49; and politics, 46–47; and Waiting, 43–44, 49–55; and waiting as empowering, 54–55
What We Made (Tom Finkelpearl), 64–65
white savior complex, xviii, 158–59
Wilding, Faith, 31, 47, 59–60, 82, 176. See also Waiting; Wait-With
wings, symbolism of, 53
Wolff, Janet, 170–72
Womanhouse (Johanna Demetrakas), 33, 35, 42
Womanspace, 38
“Woman Waits, The” (Anna Riveloté), 52–55
women: and anger, 37–38; bodies, policing of, 117–19, 122–25, 129–30; and ideal of domesticity, 36–39, 46; and motherhood, 37; and personal vs. political, 46–47; and postcolonial feminism, 115–16; and trust, 58, 60, 66; and waiting, 31, 43, 52–55, 57–58, 71; as welcoming, xvii–xviii. See also Brides on Tour; femininity; gender; masculinity
women’s liberation movement, 32, 34, 36–39
Wong, Virgil, 59
Yank, Sue Bell, 131
Yoshikawa, Masahiro, 187n2
Youngs, Amy, 197n27
Zaretsky, Adam, 87