“My Working Will be the Work:” Maintenance art and Technologies of Change
In 1973, Mierle Laderman Ukeles staged a series of art performances at the Wadsworth Atheneum in Connecticut. In Transfer: The Maintenance of the Art Object, she took over the duties of the museum’s janitor and used his tools to clean a glass case containing a mummy. When she was finished, she stamped her cleaning tools and the mummy case with a rubber stamp, branding them “Maintenance Art Works.” She then transferred the cleaning duties to the museum’s curator, who alone was allowed to handle and conserve artworks. In another performance, Keeper of the Keys, Ukeles took the janitor’s keys and locked and unlocked various offices and rooms in the museum. Once Ukeles had locked an office, it became a Maintenance Artwork and no one was permitted to enter or use the room. Keeper of the Keys created an uproar, as it drastically impacted the work lives of the museum’s staff who pleaded to have certain floors exempted from the project so they could work undisturbed. Ukeles’ performances, examples of conceptual art called “Institutional Critique,” surfaced the hidden labor of maintenance in the museum setting, and the subsequent visibility of this labor proved to be incredibly disruptive to the institution of the museum.
Recently within the history of science and technology, scholars have focused an increasing amount of attention on the maintenance of technology and systems. Maintenance has been long overlooked in favor of a focus on innovation and design practices; the very beginnings of technology have always been more appealing than their often messy or disappointing longer lives. One important aspect of this “turn” to maintenance histories is that the un-and-underpaid labor of women and marginalized people, who are disproportionately relegated to maintenance work, has again become an important site for articulating the history of technology. A similar turn was initiated by scholars, like historian of technology Ruth Schwartz Cowan and others, in the 1980s.
“Maintenance has been long overlooked in favor of a focus on innovation and design practices; the very beginnings of technology have always been more appealing than their often messy or disappointing longer lives.”
Even before these early efforts, however, art historian and curator Helen Molesworth has argued that women artists, like Ukles and Martha Rosler, were making significant contributions to a discourse about public and private life, and the hidden labor that sustains both. Ukeles and Rosler, despite often being marginalized as “feminist artists,” were in the 1970s making strikingly political art about labor and gender, about technology and potential violence, and about the ability of art itself to sustain and renew utopia and revolution.
In her video piece The Semiotics of the Kitchen (1975), Rosler appears behind a table laden with kitchen tools, with the refrigerator, sink, and cupboards of her kitchen as backdrop. The artist works through her collection of kitchen gadgets one by one, alphabetically: A is for apron, K is for knife. But her gestures clash with the setting. Instead of using the knife to mime cutting food, she stabs violently at the air. She ladles invisible soup, but then flings it over her shoulder. Rosler’s deadpan stare and her gestural subversion of the audiences cooking-show set-up expectations make a mockery, or perhaps even a threat, out of the labor of the kitchen. Her misuse of the tools of the kitchen has the effect of stripping the technology of its meaning, making it more “thingy” and, thus, somehow threatening or alienating.
Helen Molesworth has used Ukeles’ performances and Rosler’s video pieces to unpick a largely unquestioned binary had existed for much of the 1980s and 90s between “essentialist” feminist art and the more theory-driven works, which succeeded them in critical estimation. Essentialist works focused on more straightforward imagery of the feminine and the female — of this school, Judy Chicago’s The Dinner Party (1974-79) is considered emblematic. Theory-based works are represented in this debate by conceptual artist Mary Kelly in the Post-Partum Document (1973-79), which consists of text and artifacts that document and analyze Kelly’s relationship to and experience of mothering her son. Molesworth shows that by adding Rosler and Ukeles to this longstanding binary, we can see that all four artists are actually working in an expanded field that investigates maintenance and other forms of hidden labor.
We might venture to expand the field once more and place these maintenance artworks in a more explicit story about technology. In her influential book More Work for Mother: The Ironies of Household Technology from the Open Hearth to the Microwave, Ruth Schwartz Cowan takes pains to remind us that the modern industrialized household is intimately dependent on the large technological systems of modernity. No plumbing, electricity, gas means no housework. No access to the manufacture of tools and appliances, textiles and packaged foods means no dinner on the table. These artworks show us how the larger technological world as the public sphere, which Ukeles and Rosler contrast with a degraded private sphere, is itself intimately dependant on the invisible labor and technological systems of the home and the invisible labors of maintenance.
Recontextualizing of the labor and tools of housework, and the slightly unsettling effect this has on audiences, is the most important feature of both Ukeles’ and Rosler’s works. They give the viewer a little glimpse of the power that has, ironically, been vested in the home and its laborers by the public sphere that insists, indeed depends, on the private remaining private. These caches of unseen power, levers that can move an economy in their numbers, are also technological levers that rely on tools and systems that have been degraded and devalued because of their connection to maintenance labor.
Ukeles and Rosler remind us the invisible labor of women and marginalized people ensures that those permitted in the public sphere, white able-bodied men, are properly clothed and housed and supported and separated from waste so that they can innovate in comfort. By surfacing this labor and critiquing the ways it has been made invisible, Ukeles and Rosler prefigure scholarly critiques about the labor of women and marginalized people and the hidden histories of maintenance technology that support a public culture of innovation.
“These caches of unseen power, levers that can move an economy in their numbers, are also technological levers that rely on tools and systems that have been degraded and devalued because of their connection to maintenance labor.”
In an interview for Artforum, Ukeles talks about how two of the most famous Minimalist artists of the 20th century, Richard Serra and Donald Judd, made artworks that “skimmed the surface” of the industrial, technological world of the public sphere. The universalism of their work depends on the labor of making them which remains invisible and only the artwork itself is available for critique. Meanwhile, Ukeles felt that as both an artist and a mother her labor had become all about care and maintenance. Her decision to commit to an artistic practice of maintenance was an investment in the personal and political act of melding her artistic self to the aspects of herself that were defined by care-work. “My working will be the work,” she declared in her Manifesto for Maintenance Art 1969!.
Ukeles’ radical intervention was to name this invisible work of cleaning, repairing, cooking, and mending Maintenance Art, and to force this labor into spaces that had always privileged the result, not the work that sustains it. Rosler’s critique of the labor of the kitchen is enacted through her alienation from kitchen technologies, a transformation of the object that was mirrored in Ukeles’ branding of the cleaning rag as an artwork and her taking possession of the building keys. These are technology stories, but not the kind we may find most familiar.
Obsession with innovation over preservation is an obsession with those who are allowed to innovate and an indifference to those who are made to maintain. It’s not just an aesthetic matter of what kind of labor seems more appealing; it’s a power structure that requires the domination of others in order to “maintain the change” created by the innovators. Yet, Ukeles meant “maintain the change” in a much more utopian sense, a thread that Molesworth notes in her expanded field of feminist-informed art. The maintenance needed to preserve positive change is itself a worthy and humanistic pursuit and deserves the same status as change itself. The technologies and labors of maintenance, wielded and performed by the marginalized, have the power to disrupt as much as they have the power to sustain.
Further Reading
Helen Molesworth, “House Work and Art Work,” October vol. 92 (Spring 200): 71-97.
Ruth Schwartz Cowan, More Work for Mother: The Ironies of Household Technologies form the Open Hearth to the Microwave (Basic Books, 1983).