Pub Date : 2020-10-01DOI: 10.1080/14702029.2020.1823762
Gordon Edison McQueen, D. Bawden
ABSTRACT This article examines how the thinking of Luciano Floridi, especially his emphasis on information, could affect the way we approach art practice. It aims to situate art practice in relation to contemporary informational theories and suggests that the way we view contemporary art practice needs to move beyond existing theories. Key components to Floridi’s philosophy are introduced with relevance to art practice, followed by an analysis of these concepts with examples from the history of art. It is hoped that, by clarifying some of the more complex terms and concepts, readers will form a better understanding of the connections and potential synergy between art practice and the sciences of information, through the philosophy of Floridi.
{"title":"Luciano Floridi and contemporary art practice","authors":"Gordon Edison McQueen, D. Bawden","doi":"10.1080/14702029.2020.1823762","DOIUrl":"https://doi.org/10.1080/14702029.2020.1823762","url":null,"abstract":"ABSTRACT This article examines how the thinking of Luciano Floridi, especially his emphasis on information, could affect the way we approach art practice. It aims to situate art practice in relation to contemporary informational theories and suggests that the way we view contemporary art practice needs to move beyond existing theories. Key components to Floridi’s philosophy are introduced with relevance to art practice, followed by an analysis of these concepts with examples from the history of art. It is hoped that, by clarifying some of the more complex terms and concepts, readers will form a better understanding of the connections and potential synergy between art practice and the sciences of information, through the philosophy of Floridi.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"61 1","pages":"328 - 350"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91266946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-23DOI: 10.1080/14702029.2020.1791448
J. Crawshaw
ABSTRACT This article presents a writing collaboration between an ethnographer and two artists. It was developed from a one-week residency at Kultivator, which is an artist-led project situated on an organic farm on the Swedish island of Öland. The writing is informed by classical pragmatist philosophy and gives focus to the organic trope of human-environment continuity. Drawing on the writing experiment the article argues that Kultivator is not simply doing organic farming; but building a farm to think-with organically. Kultivator is presented as a way of knowing continuity; and a way of doing organic philosophy also. As such the article suggests this artist-led practice has capacity to stretch artistic practice and its discourse beyond human collaboration. The research contributes an experiential account of artist-led practice in a rural context. Rather than focusing on artworks or ‘buildings’ this collaboration asks us to consider the way we ‘build’ our participatory process of living together and the role artistic knowledge can have in doing so.
{"title":"Artist-led building: farming organic knowing","authors":"J. Crawshaw","doi":"10.1080/14702029.2020.1791448","DOIUrl":"https://doi.org/10.1080/14702029.2020.1791448","url":null,"abstract":"ABSTRACT This article presents a writing collaboration between an ethnographer and two artists. It was developed from a one-week residency at Kultivator, which is an artist-led project situated on an organic farm on the Swedish island of Öland. The writing is informed by classical pragmatist philosophy and gives focus to the organic trope of human-environment continuity. Drawing on the writing experiment the article argues that Kultivator is not simply doing organic farming; but building a farm to think-with organically. Kultivator is presented as a way of knowing continuity; and a way of doing organic philosophy also. As such the article suggests this artist-led practice has capacity to stretch artistic practice and its discourse beyond human collaboration. The research contributes an experiential account of artist-led practice in a rural context. Rather than focusing on artworks or ‘buildings’ this collaboration asks us to consider the way we ‘build’ our participatory process of living together and the role artistic knowledge can have in doing so.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"25 1","pages":"310 - 327"},"PeriodicalIF":0.0,"publicationDate":"2020-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75288986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/14702029.2020.1808336
Kathryn Brown
ABSTRACT This article argues that as the market for art rises to prominence both economically and conceptually, the artwork becomes a form of ‘fictitious capital’ that threatens the ontological status of the object and forces reconsideration of the role of the museum. These issues are examined through the lens of empirical market data, contemporary art, and analytic aesthetics. David Carrier’s conception of ‘aesthetic atheism’ is tested against the background of both recent developments in the art market and creative strategies that stage the disappearance of the artwork. It is argued that the proliferation of spectacular auctions, art fairs, and information about sales prices results in a new object of appreciation: the market itself. The result is that the market is ‘aestheticized’ and constituted as a unique sphere of social goods in which the values traditionally associated with art are displaced.
{"title":"Disappearing acts: fictitious capital, aesthetic atheism, and the artworld","authors":"Kathryn Brown","doi":"10.1080/14702029.2020.1808336","DOIUrl":"https://doi.org/10.1080/14702029.2020.1808336","url":null,"abstract":"ABSTRACT This article argues that as the market for art rises to prominence both economically and conceptually, the artwork becomes a form of ‘fictitious capital’ that threatens the ontological status of the object and forces reconsideration of the role of the museum. These issues are examined through the lens of empirical market data, contemporary art, and analytic aesthetics. David Carrier’s conception of ‘aesthetic atheism’ is tested against the background of both recent developments in the art market and creative strategies that stage the disappearance of the artwork. It is argued that the proliferation of spectacular auctions, art fairs, and information about sales prices results in a new object of appreciation: the market itself. The result is that the market is ‘aestheticized’ and constituted as a unique sphere of social goods in which the values traditionally associated with art are displaced.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"42 1","pages":"225 - 240"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85103889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/14702029.2020.1811489
Franziska Wilmsen
ABSTRACT This article examines the role of contemporary art commissioning as a tactic for both collecting and image building on the part of contemporary art institutions. Central to this practice is the selection of artists’ brands, namely the commissioning of works by pre-eminent artists for symbolic and economic purposes. Through the lens of the Deutsche Guggenheim commission series (1997–2013), the article explores the notion of artists' brands as a new aspect of contemporary canon formation. The analysis shows how preferred traits and styles of such brands are utilised to foster or improve the image of the commissioning institution. In addition, the article argues that the selection and collection of contemporary art through commissioning is often directly linked to the business interests of the commissioner and can serve the purpose of reputation laundering on the part of private art institutions and corporate art collections.
{"title":"Commissioning artists’ brands: the case of the Deutsche Guggenheim","authors":"Franziska Wilmsen","doi":"10.1080/14702029.2020.1811489","DOIUrl":"https://doi.org/10.1080/14702029.2020.1811489","url":null,"abstract":"ABSTRACT This article examines the role of contemporary art commissioning as a tactic for both collecting and image building on the part of contemporary art institutions. Central to this practice is the selection of artists’ brands, namely the commissioning of works by pre-eminent artists for symbolic and economic purposes. Through the lens of the Deutsche Guggenheim commission series (1997–2013), the article explores the notion of artists' brands as a new aspect of contemporary canon formation. The analysis shows how preferred traits and styles of such brands are utilised to foster or improve the image of the commissioning institution. In addition, the article argues that the selection and collection of contemporary art through commissioning is often directly linked to the business interests of the commissioner and can serve the purpose of reputation laundering on the part of private art institutions and corporate art collections.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"142 1","pages":"284 - 296"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78899117","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/14702029.2020.1804706
Christl Baur
ABSTRACT Gallerists and collectors have often looked sceptically at works in electronic media for quite different reasons: their novelty and highly experimental approach; their technical aspects; their virtual and ephemeral nature; and the difficulties of preservation and maintenance. In an effort to change this Ars Electronica (Linz, Austria) initiated the Gallery Spaces Program in 2017. Using the example of Ars Electronica, this article discusses the important role that media art holds as cultural heritage and argues that societies risk losing important artworks if the value system of the art world does not change. The art market itself is experiencing a digital transformation, and new possibilities and business models are being explored that place Ars Electronica and its legacy of fostering media arts in a very important position. Ars Electronica becomes a mediator between media art and the art market by opening its platform for exchanges between the different stakeholders.
{"title":"Ars Electronica and the media art economy","authors":"Christl Baur","doi":"10.1080/14702029.2020.1804706","DOIUrl":"https://doi.org/10.1080/14702029.2020.1804706","url":null,"abstract":"ABSTRACT Gallerists and collectors have often looked sceptically at works in electronic media for quite different reasons: their novelty and highly experimental approach; their technical aspects; their virtual and ephemeral nature; and the difficulties of preservation and maintenance. In an effort to change this Ars Electronica (Linz, Austria) initiated the Gallery Spaces Program in 2017. Using the example of Ars Electronica, this article discusses the important role that media art holds as cultural heritage and argues that societies risk losing important artworks if the value system of the art world does not change. The art market itself is experiencing a digital transformation, and new possibilities and business models are being explored that place Ars Electronica and its legacy of fostering media arts in a very important position. Ars Electronica becomes a mediator between media art and the art market by opening its platform for exchanges between the different stakeholders.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"36 1","pages":"241 - 253"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14702029.2020.1804706","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72482804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/14702029.2020.1806503
Stephanie Dieckvoss
ABSTRACT This case study examines the Musée d’Art Contemporain Africain Al Maaden (MACAAL), a private museum in Marrakech, Morocco, within the cultural, political and economic contexts of private philanthropy. It analyses the development of the collection of the owners of the museum within the specific context of support for the arts in the Muslim kingdom in North Africa and examines the function of the private museum which opened in 2018. In order to answer the question of the motivations for the foundation of the museum, the article describes the transition from a more traditional model of philanthropy and patronage to a new entrepreneurial model of giving in line with a generational shift in the management of the collection and opens up some possible explanations for this shift. The complex relationship between the State and the collecting family that touches not only on cultural but also political and economic domains is explored. Furthermore, a shift of alignment from the MENASA region to a Pan African context in line with state policy is discussed. This serves to situate the private museum within a broader context and to make a contribution to the study of private patronage and museums in emerging economies.
{"title":"The Musée d’Art Contemporain Africain Al Maaden in Marrakech: a case study in collecting and place-making","authors":"Stephanie Dieckvoss","doi":"10.1080/14702029.2020.1806503","DOIUrl":"https://doi.org/10.1080/14702029.2020.1806503","url":null,"abstract":"ABSTRACT This case study examines the Musée d’Art Contemporain Africain Al Maaden (MACAAL), a private museum in Marrakech, Morocco, within the cultural, political and economic contexts of private philanthropy. It analyses the development of the collection of the owners of the museum within the specific context of support for the arts in the Muslim kingdom in North Africa and examines the function of the private museum which opened in 2018. In order to answer the question of the motivations for the foundation of the museum, the article describes the transition from a more traditional model of philanthropy and patronage to a new entrepreneurial model of giving in line with a generational shift in the management of the collection and opens up some possible explanations for this shift. The complex relationship between the State and the collecting family that touches not only on cultural but also political and economic domains is explored. Furthermore, a shift of alignment from the MENASA region to a Pan African context in line with state policy is discussed. This serves to situate the private museum within a broader context and to make a contribution to the study of private patronage and museums in emerging economies.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"18 1","pages":"254 - 268"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75340637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/14702029.2020.1806506
M. Maximova
ABSTRACT This article explores the emergence of private art galleries in Moscow in the early 1990s. It argues that instead of being driven by commercial objectives, these institutions took on the functions of the still-absent museums of contemporary art. It was the galleries of the early 1990s that were responsible for commissioning and preserving works, supporting artists and creating public awareness of the latest trends in young Russian art. They were ready to take the risk of showing unorthodox and radical artistic practices which were often not even offered for sale. This article discusses the role of the first private galleries in developing the infrastructure for contemporary Russian art.
{"title":"Commercial art galleries as canon-makers: the Moscow art scene in the early 1990s","authors":"M. Maximova","doi":"10.1080/14702029.2020.1806506","DOIUrl":"https://doi.org/10.1080/14702029.2020.1806506","url":null,"abstract":"ABSTRACT This article explores the emergence of private art galleries in Moscow in the early 1990s. It argues that instead of being driven by commercial objectives, these institutions took on the functions of the still-absent museums of contemporary art. It was the galleries of the early 1990s that were responsible for commissioning and preserving works, supporting artists and creating public awareness of the latest trends in young Russian art. They were ready to take the risk of showing unorthodox and radical artistic practices which were often not even offered for sale. This article discusses the role of the first private galleries in developing the infrastructure for contemporary Russian art.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"457 1","pages":"269 - 283"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76975797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/14702029.2020.1811488
Kathryn Brown
The essays in this issue investigate complex relationships between museums and the financial imperatives of the marketplace. Contributing to the journal’s aims of examining the social, economic, po...
本期的文章探讨了博物馆与市场金融需求之间的复杂关系。该杂志旨在研究社会、经济、政治……
{"title":"When museums meet markets","authors":"Kathryn Brown","doi":"10.1080/14702029.2020.1811488","DOIUrl":"https://doi.org/10.1080/14702029.2020.1811488","url":null,"abstract":"The essays in this issue investigate complex relationships between museums and the financial imperatives of the marketplace. Contributing to the journal’s aims of examining the social, economic, po...","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"35 1","pages":"203 - 210"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77001349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/14702029.2020.1804705
Alain Quemin
ABSTRACT This article reveals different ways in which actors in the art market – both prominent collectors and high end galleries – manage to intervene in museum institutions’ choices and, thus, strengthen their weight in the creation of art value. While in the 1960s and 1990s, the French sociologist Raymonde Moulin argued that the value of art is constituted at the junction of the market and the museum, but tended towards the pre-eminence of institutions, the market has considerably strengthened its role in the creation of artistic value since that time. The example of the French case, central in this article, illustrates a development where leading collectors – Bernard Arnault, CEO of the luxury group LVMH and François Pinault, CEO of the Kering group and owner of the auction house Christie’s – compete with museums through the institutions that they control and can influence the choices of public institutions. A similar trend is examined in the context of high end galleries which now have the financial means and personnel to offer exhibitions capable of competing with museums.
{"title":"The market and museums: the increasing power of collectors and private galleries in the contemporary art world","authors":"Alain Quemin","doi":"10.1080/14702029.2020.1804705","DOIUrl":"https://doi.org/10.1080/14702029.2020.1804705","url":null,"abstract":"ABSTRACT This article reveals different ways in which actors in the art market – both prominent collectors and high end galleries – manage to intervene in museum institutions’ choices and, thus, strengthen their weight in the creation of art value. While in the 1960s and 1990s, the French sociologist Raymonde Moulin argued that the value of art is constituted at the junction of the market and the museum, but tended towards the pre-eminence of institutions, the market has considerably strengthened its role in the creation of artistic value since that time. The example of the French case, central in this article, illustrates a development where leading collectors – Bernard Arnault, CEO of the luxury group LVMH and François Pinault, CEO of the Kering group and owner of the auction house Christie’s – compete with museums through the institutions that they control and can influence the choices of public institutions. A similar trend is examined in the context of high end galleries which now have the financial means and personnel to offer exhibitions capable of competing with museums.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"517 1","pages":"211 - 224"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77149581","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-30DOI: 10.1080/14702029.2020.1752514
Petra Frank-Witt
ABSTRACT In academicized art history, artworks were traditionally construed to embody historical time and place as well as the particulars of artistic production, from the intentions of the artist to the broader historical context. But there has been no general agreement – formalism for example completely excised context from analysis – as to which particulars had to be dealt with in order for an art-historical interpretation to be complete. Instead, it was analytic aesthetics (and literary theory) that most extensively applied itself to one such particular, the issue of artistic intention. While there are certain parallels between the analytic philosophical and art historical references to intention, the vigorous debate of intentionality that is alive and well in philosophical and literary circles has no equivalent in art historical discourse. This article will address this lacuna by locating intentionality in the domain of the visual arts with a view to real-world art production and consumption mechanisms.
{"title":"Intentionality in art: empirical exposure","authors":"Petra Frank-Witt","doi":"10.1080/14702029.2020.1752514","DOIUrl":"https://doi.org/10.1080/14702029.2020.1752514","url":null,"abstract":"ABSTRACT In academicized art history, artworks were traditionally construed to embody historical time and place as well as the particulars of artistic production, from the intentions of the artist to the broader historical context. But there has been no general agreement – formalism for example completely excised context from analysis – as to which particulars had to be dealt with in order for an art-historical interpretation to be complete. Instead, it was analytic aesthetics (and literary theory) that most extensively applied itself to one such particular, the issue of artistic intention. While there are certain parallels between the analytic philosophical and art historical references to intention, the vigorous debate of intentionality that is alive and well in philosophical and literary circles has no equivalent in art historical discourse. This article will address this lacuna by locating intentionality in the domain of the visual arts with a view to real-world art production and consumption mechanisms.","PeriodicalId":35077,"journal":{"name":"Journal of Visual Art Practice","volume":"21 1","pages":"297 - 309"},"PeriodicalIF":0.0,"publicationDate":"2020-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75373971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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