Draft of working abstract

To construct intersections involving art, gallery space, heterotopias, geopolitical context, repetition, and the everyday is the purpose of this exploration. The art gestures by Arman (Full Up, 1960), Kounellis (Twelve Horses, 1969), and Rosler (Garage Sale, 1973) are examples of a specific angle within conceptualism of the 1960s and 70s. Within gallery space, the everydayness of these gestures are critical to gallery ideology, and produce a ‘masquerading gallery space’ (as junkyard, stable, and garage). These artists provide a reading of neo-dadaism, performance and installation art. Space is being collapsed between the philosophical division of banal everyday and artistic practice. In postmodernism, are ‘the boundaries truly being blurred,’ or are new boundaries being created? Is the museum as heterotopia--the placeless place outside time--being debunked through these conceptual everyday gestures? This discussion examines these questions through theoretical lenses of Lefebvre, Foucault, and Deleuze; to provide a debate on the everyday and spatiality. The focus herein is 'what is space,' rather than the common question 'what is art.' Douglas Drake Leeds, July 2005