Art, Money, Parties: New Institutions in the Political Economy of Contemporary ArtJonathan P. Harris Liverpool University Press, 01.01.2004 - 216 Seiten Art, Money, Parties is a collection of essays based on papers given at a conference of the same name held at Tate Liverpool in November 2002. It sets out to describe and evaluate the development of new forms of art patronage and display evident in such recurrent events as biennials, 'cultural quarter' projects for urban regeneration, novel galleries of contemporary art, and production sponsors (such as the Saatchi Gallery and the Baltic). The scope of the collection is international and its aim is to map and examine the globalisation of art's political-economy. Contributors: Jeremy Valentine (Queen Elizabeth College, Edinburgh), Andrew Brighton (Tate Modern), Sadie Coles (Gallery owner), Rory Francis (Manchester Metropolitan University), Paul Usherwood (University of Northumbria), Stewart Home (artist and writer), Lewis Biggs (ex-Director, Tate Liverpool), and Jonathan Harris (University of Liverpool). |
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Art, Money, Parties: New Institutions in the Political Economy of ... Jonathan Harris Eingeschränkte Leseprobe - 2004 |
Häufige Begriffe und Wortgruppen
AESTHETIC AUTONOMY AGE OF GLOBALISED ART AND EMPIRE art history art world artists Arts Council ARTS POLICY artworks avant-garde Brit Art Britain CANNIBAL HOOKERS capitalism centre Clement Greenberg contemporary art context CONTEXTUALISING PRACTICES critique cultural curators DANIEL BIRNBAUM discourse economic essay exhibition EXPERIENCE OF SPACE funding gallery global GLOBALISED CONTEMPORARY ART Hardt and Negri HISTORICAL SOCIOLOGY institutions INTERVIEWED BY JONATHAN JEREMY VALENTINE John Currin JONATHAN HARRIS Labour LEWIS BIGGS Liverpool Biennial London MANAGING DISAPPOINTMENT meaning MEDIATION AND CONTEXTUALISING Modern Art modernist museum ORGANISATIONAL MEDIATION party PAUL USHERWOOD photograph political postmodernism production public art relations relationship RORY FRANCIS Sadie Coles HQ SADIE COLES INTERVIEWED Sam Taylor-Wood Sarah Lucas SC Yes sculpture sense SOCIAL INCLUSION AGENDA society SOCIOLOGY OF CONTEMPORARY STEWART HOME structures Tate Liverpool Tate Modern Taylor-Wood Tilted Arc Tracey Emin traditional WINTER AND BERTHOLD WOLFGANG WINTER York
Beliebte Passagen
Seite 191 - All fixed, fast-frozen relations, with their train of ancient and venerable prejudices and opinions, are swept away; all newformed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life and his relations with his kind.
Seite 181 - The former implies a general direction while the latter are the components. ldeas implement the concept. 10. ldeas alone can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical.
Seite 73 - Economic Action and Social Structure: The Problem of Embeddedness," American Journal of Sociology 91 (1985): 481-510; Glenn C.
Seite 63 - Macneil (1985) has suggested, the "entangling strings" of reputation, friendship, interdependence, and altruism become integral parts of the relationship. Networks are particularly apt for circumstances in which there is a need for efficient, reliable information. The most useful information is rarely that which flows down the formal chain of command in an organization, or that which can be inferred from shifting price signals. Rather, it is that which is obtained from someone whom you have dealt...
Seite 148 - I fancy, recognizes that the work of the artist in all its aspects is, of its nature, individual and free, undisciplined, unregimented, uncontrolled. The artist walks where the breath of the spirit blows him. He cannot be told his direction; he does not know it himself.
Seite 35 - See Carol Duncan and Alan Wallach, 'The Universal Survey Museum', Art History, 3, (December 1980).
Seite 63 - But increasing network size without considering diversity can cripple a network in significant ways. What matters is the number of nonredundant contacts. Contacts are redundant to the extent that they lead to the same people and so provide the same information benefits. Consider two four-contact networks, one sparse, the other dense. There are no relations between the contacts in the sparse network, and strong relations between every contact in the dense network. Both networks cost whatever time...
Seite 213 - Tony Bennett, The Birth of the Museum: History, Theory. Politics (London: Routledge, 1995...
Seite 35 - Thomas Crow, Painters and Public Life in Eighteenth Century Paris (New Haven CT: Yale University Press, 1985...
Seite 115 - Richter everybody needs his memories. They keep the wolf of insignificance from the door.