Book Section
This is an essay about rust. Iron usually plays the part of strength, stubbornness, and impenetrability, but rust registers the dimension of time in the material, reminding us that it always carries the potential for its own decomposition. While great expense is incurred to stave off iron’s oxidization, we read the uselessness that rust precipitates as an interruption of the instrumental logics that sustain racial capitalism. Looking to the rusted ring that became Elsa von Freytag-Loringhoven’s Enduring Ornament (1913), we consider how the discarded and defunctionalized lend themselves to ornamental redeployment. The essay then turns to works by the contemporary American artists David Hammons and Andrea Fraser, both of which transform Richard Serra’s rusty steel sculptures into a backdrop for fleeting gestures of impromptu reclamation. Attending to questions of susceptibility and monumental weathering, these reflections look to rusty leakages that play out the impossibility of refusing the environment. Rust, we suggest, is a material archive of exposure that does not keep itself, but flakes apart and seeps away.
Keywords: rust; iron; piss; susceptibility; disuse; red; Minimalism; institutional critique; gentrification; stench
Title
Enduring Ornament
Author(s)
Amelia Groom
M. Ty
Identifier
DOI Target
HTML Page
Description
This is an essay about rust. Iron usually plays the part of strength, stubbornness, and impenetrability, but rust registers the dimension of time in the material, reminding us that it always carries the potential for its own decomposition. While great expense is incurred to stave off iron’s oxidization, we read the uselessness that rust precipitates as an interruption of the instrumental logics that sustain racial capitalism. Looking to the rusted ring that became Elsa von Freytag-Loringhoven’s Enduring Ornament (1913), we consider how the discarded and defunctionalized lend themselves to ornamental redeployment. The essay then turns to works by the contemporary American artists David Hammons and Andrea Fraser, both of which transform Richard Serra’s rusty steel sculptures into a backdrop for fleeting gestures of impromptu reclamation. Attending to questions of susceptibility and monumental weathering, these reflections look to rusty leakages that play out the impossibility of refusing the environment. Rust, we suggest, is a material archive of exposure that does not keep itself, but flakes apart and seeps away.
Is Part Of
Place
Berlin
Publisher
ICI Berlin Press
Date
2020
Subject
rust
iron
piss
susceptibility
disuse
red
Minimalism
institutional critique
gentrification
stench
Rights
© by the authors
Except for images or otherwise noted, this work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Language
en-GB
short title
Enduring Ornament
page start
121
page end
141
Source
Weathering: Ecologies of Exposure, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 17 (Berlin: ICI Berlin Press, 2020), pp. 121–41
Bibliographic Citation
Amelia Groom and M. Ty, ‘Enduring Ornament’, in Weathering: Ecologies of Exposure, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 17 (Berlin: ICI Berlin Press, 2020), pp. 121–41 <https://doi.org/10.37050/ci-17_06>

References

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Cite as: Amelia Groom and M. Ty, ‘Enduring Ornament’, in Weathering: Ecologies of Exposure, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 17 (Berlin: ICI Berlin Press, 2020), pp. 121–41 <https://doi.org/10.37050/ci-17_06>
Amelia Groom and M. Ty, ‘Enduring Ornament’, in Weathering: Ecologies of Exposure, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 17 (Berlin: ICI Berlin Press, 2020), pp. 121-41 <https://doi.org/10.37050/ci-17_06>

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