The Fall of the Studio – Artists at Work
Take Place – Photography and Place from Multiple Perspectives
The Murmuring of the Artistic Multitude
Texte auf Englisch
je 20,00 Euro
The first in a new series with the agenda of examining specific phenomena or new lines of thought in the arts through critical writings. This premier edition brings together an original collection of essays which assess changes in the nature and identity of the artist’s studio in the context of the production of art in the post-war period. Combining art history, criticism and theory, these clear and accessibly written essays also throw light on specific cases of studio practice from the likes of Eva Hesse, Olafur Eliasson, Bruce Nauman, Martin Kippenberger and Jan de Cock. Contributors include: Wouter Davidts, Kim Paice, MaryJo Marks, Kirsten Swenson and Philip Ursprung.
The extensive use of photography in contemporary art practice raises a number of complex questions as to the concept and role of ‘place’ within these various practices. ‘Take Place’ investigates this complexity and theorises about the notion of ‘place’ in – and the place of – photography in the context of contemporary art projects. This investigation is done from the perspectives of various disciplines such as art history, the theory of photography, architecture, installation art, performance and multimedia projects. Contributing authors and artists include: Thomas Crow, Caroline van Eck, Barbara Hooper, Anja Novak, Kitty Zijlmans, Pieter Laurens Mol and Batia Suter.
In ‘The Murmuring of the Artistic Multitude’ art sociologist Pascal Gielen defends and explores the idea and limits of the hypothesis that an increasingly globalised art scene is the ideal production model for economic exploitation. The work ethics of the art world – with its ever-present, dynamic, flexible working hours, thematic approach, short term (or no) contracts, and, its unlimited, energetic freedom – has been capitalised within the cultural industry and subsequently converted into a standard production model. Knitting seamlessly into discussions around creative cities, Gielen’s thesis also searches for new alternatives within this system that will preserve the art world’s particular dynamic and freedom.
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