Le mode artistique de la Révolution : de la gentrification à l’occupation (I)

L’événement crucial que constituent les démonstrations et occupations publiques des dernières semaines, mois, et même de l’année passée, coiffent toute la discussion sur les luttes, les exodes et les réappropriations du travail cognitif et créatif, en particulier dans le champ des arts visuels. J’ai choisi d’aborder les thèses au sujet de la « classe créative » à travers ce détour, afin d’élaborer mes arguments à la lumière de ces occupations, de ces révoltes, dans le dessein de réaliser quel..

Le mode artistique de la Révolution : de la gentrification à l'occupation (II)

Cinquante ans après le plan Master de l’Université de Californie, comme Kerr l’avait prévu, la plupart des productions post-fordistes s’inscrivent désormais dans le champ de l’industrie de la connaissance. Tous les produits culturels, ainsi aplatis, deviennent désormais de l’« information », écrasant les produits de l’écriture, de la recherche, du divertissement, tout ce que vous voudrez, et bien sûr, l’art. L’apparence et le mode de vie, qui en découlent, s’appuient en grande partie sur les ..

O modo artístico de revolução Da gentrificação à ocupação

O modo artístico de revolução Da gentrificação à ocupaçã

Discours actuels sur l’histoire de l’art du xxe siècle. Écrire en mots et en objets

Alors que les rayons des libraires croulent sous les mises à jour d’histoires de l’art moderne et contemporain obsolètes malgré l’ajout de quelques mots magiques comme « postmoderne », « nouveaux médias » ou « mondialisation », alors que prolifèrent chronologies, albums, glossaires et manuels trop vite faits, l’ouverture de la Tate Modern à Londres (2000), la rénovation du MoMA à New York (2005), et la reconfiguration des collections du Musée national d’art moderne à Paris (2007) ont-elles mo..

The Artist in the Library

Through the course of this paper I seek to intertwine a story of my own creative relationship with libraries with accounts of artists’ work, including the work of my students. My goal is to articulate the ways in which artists work with, in, and on libraries and in doing this to define features of a library aesthetic. It is impossible, writing in London in 2016, to ignore the dire context for UK public libraries. Reductions in local government funding have resulted in widespread disregard by local authorities to their responsibilities under the 1964 Public Libraries and Museums Act – their statutory duty to provide a ‘comprehensive and efficient library service for all persons to make use thereof’. (Culture, Media and Sport Committee 2012, online) Cuts to library services continue apace [{note}]1. Writers, poets, artists and authors add their pleas to the protests against closures [{note}]2, but go largely unheeded. The idea of defining a library aesthetic might seem futile in the face of this austerity drive, but through my analysis of such an aesthetic, I hope to explore the potential of artworks to highlight and extend our understanding of its possibilities

Conceptual Art

Providing a re-examination of what Osborne identifies as a major turning point in contemporary art, this monograph takes a chronological and stylistic look at conceptual art from its “pre-history” (1950-1960) to contemporary practices that use conceptual strategies. Osborne surveys the development of the movement in relation to the social, cultural and political contexts within which it evolved. With extended captions, key works are compiled according to ten themes that also serve to present a collection of critical texts, artists’ statements, interviews and commentaries. Includes biographical notes on artists (6 p.) and authors (2 p.), a bibliography (2 p.) and an onomastic index (4 p.) Circa 150 bibl. ref

Contemporary Photographic Practices on the British Fairground

The fairground is a somewhat magical and uncharted realm of illusion, deception, thrill and adventure. It offers a glimpse of the improbable and impossible, and a taste or touch of the unattainable. This article looks at the crossover of photography and the British fairground following the gradual take-up of photography in the post-war period. It briefly covers early traditions concomitant with the specialised practice of photography, then it identifies photographic practices on the fairground through distinct communities of engagement including professional and amateur photographers attracted to the spectacle of the fair, ethnographic explorers, dedicated enthusiasts, showpeople and the general public of “punters”. In each case photographs from these communities are presented as well as a selection of photographs depicting these communities of photographers in action. The article concludes with the current situation of camera phone technology, social media and digitally manipulated photographic art as a new aesthetic of the fairground

Semiotics of the Kitchen

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