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Arrested Welcome: Index

Arrested Welcome

Index

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

Beckett, Samuel, 31, 39–40

Becoming Animal, 102

bioart, 86, 95–97, 102, 106–7

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

Butler, Connie, 43, 51

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

Chicago, Judy, 32, 39, 191n6

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

community, 164, 166–68, 172

Connor, Maureen, 195n26

Connors, Joanna, 153–54

contagious hospitality. See Greeting Committee Reports . . ., The; Hattendorf, Linda

Cook, Carrie L., 155

cosmopolitanism, xv, xvi, 143

Cowperthwaite, Gabriela, 85, 103

Curtz, Joël, 138–42. See also Mariée, La

Dancoff, Judith, 32

Davis, Angela, 51

Deleuze, Gilles, 86–87, 102

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

feet, washing of, 143, 144

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

gratitude, 119, 172–76

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

Gross, Jennifer, 75, 77

Guattari, Félix, 86–87, 102

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

hooks, bell, 3–5, 28, 180

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

Hyde, Lewis, xxv, 76

“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

Knigge Society, 9–12, 14

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

midwives, 143, 144

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

Nayeri, Dina, 175–76, 178

“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

Piano, Renzo, 73, 78

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

Pussy Riot, 2, 189n1

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

refugees, xv, 12–13, 15, 161

relational aesthetics art, xxiii, xxiv

rewards, 30–31, 42, 52–55

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

Saar, Betye, 37–38, 51

Schiller, Greg, xix–xxi, 153

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

Tennyson, 34–36, 54–55

TerKeurst, Lysa, 163–64

Tesamie, 1–2, 19–22

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, 32, 39, 40–42

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

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This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of the University of Michigan’s College of Literature, Science, and the Arts and the Provost Office. Learn more at the TOME website, available at: openmonographs.org.

The University of Minnesota Press gratefully acknowledges financial support from the University of Michigan’s Office of Research and the Penny W. Stamps School of Art and Design.

Excerpts from Faith Wilding, Wait-With are reprinted with permission.

Gabeba Baderoon, “I Cannot Myself” is reprinted with permission.

Portions of chapter 2 were previously published as “The One Who Waits,” in Faith Wilding’s Fearful Symmetries, ed. Shannon R. Stratton with Faith Wilding (Bristol and Chicago: Intellect, 2018), 113–40; reprinted with permission. Portions of chapter 4 were previously published as “Thou Shall Not Harm All Living Beings: Feminism, Jainism, and Animals,” Hypatia: A Journal of Feminist Philosophy 27, no. 3 (2012): 636–50; reprinted with permission. Portions of chapter 6 were published as “Baiting Hospitality,” in Security and Hospitality in Literature and Culture: Modern and Contemporary Perspectives, ed. Jeffrey Clapp and Emily Ridges (London: Routledge, 2015), 64–77; reprinted with permission.

Copyright 2020 by Irina Aristarkhova

Arrested Welcome: Hospitality in Contemporary Art is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0): https://creativecommons.org/licenses/by-nc-nd/4.0/.
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