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<div class="moz-cite-prefix">Hi John & all,<br>
<br>
Your concerns are well founded. We need to break up these large
institutions into smaller 'humane' groups, just like we need to
break down and 'own' the banks. <br>
<br>
These structures dictate absolutist conditions where status,
worth and values are based on and reliant on market driven
ideologies, and within these frameworks whatever art is shown
usually becomes part of those value systems no matter how
critical the artists themselves aim to be. For me, it will
always be about emancipation -- this is where my heart lies.<br>
<br>
I have been writing a lot lately -- one of the papers which I
have just finished and will be published is "Disrupting The
Gaze: Art Intervention and the Tate Gallery." It deals with
these kind of conditions head on. <br>
<br>
Anyway, must go -- trying to keep our own community and group
'Furtherfield' going ;-)<br>
<br>
wishing you well.<br>
<br>
Marc<br>
<br>
Here's an introduction to it,<br>
<br>
Disrupting the Gaze is written in three parts. The first chapter
Art Intervention and the Tate Gallery investigates contemporary
art intervention at the Tate Gallery. It includes artists, art
groups and activists: Graham Harwood, Platform, Liberate Tate,
IOCOSE, Tamiko Thiel, Mel Evans, Mark McGowan, Mark Wallinger,
Damien Hirst and Britart. The second chapter The Power and the
Gaze studies the history of the Tate Gallery, its connection
with the Millbank Penetentiary and the “Panopticon", Jeremy
Bentham’s design and concept for the prison. The third chapter
explores different concepts of “the gaze” and includes feminist,
societal and media art contexts. Together they form part of a
larger study that looks at dissent in the context of
contemporary art, technology and social change. <br>
<br>
Each artist(s) featured in this chapter delivers his or her own
particular unofficial and official mode of art intervention at
the Tate Gallery. Whether these interventions concern economic,
social or political conditions, they all connect in different
ways. Less in their style or genre than as contemporary artistic
practitioners exploring their own states of agency in a world
where our public interfaces are as much a necessary place of
creative engagement, as is the already accepted physical ‘inner’
sanctum of the gallery space. These artists’ and their artworks
have become as equally significant (perhaps even more) than, the
mainstream art establishment’s franchised celebrities. <br>
<br>
In his vindication of those artists hidden away in places where
the art establishment’s light rarely shines, Gregory Sholette
observes that “when, the excluded are made visible, when they
demand visibility, it is always ultimately a matter of politics
and rethinking history.” (Sholette 2011) This draws upon a
contemporary art culture and its audiences beyond the
mainstream. These artistic discoveries and discourse arise from
an independent art culture that is rarely reflected back to us.
Instead, we receive more of the same, marketed franchises. The
central, mainstream version of contemporary art has found its
allies within a global and corporate culture, where business
dictates art value. Meanwhile, a spirit of artistic emancipation
thrives. It is self styled, self governed and liberated from the
restrictive norms that dominate our mediated gaze.<br>
<br>
We live in a world riddled with contradictions and confusing
signals. Our histories are assessed and reshuffled according to
the interests of the powerful, and re-introduced as fact. We
might fail to notice that there are so many bits missing. We
accept what is given through sound bite forms of mediation and
build our cultural foundations on these acquired assumptions and
imagined guidelines. This paper studies how contemporary artists
are challenging these defaults through their connected
enactments and critical inquiries into the existing conditions.
It highlights a continual dialogue involving a historical
struggle between what is held up as legitimate art and
knowledge, and what is excluded. It looks at a complexity,
embedded in the class divisions of our culture. And it draws
upon struggles going as far back as the enlightenment, the
Industrial Revolution, colonialism and slavery to present day
concerns with the dominance of neoliberalism. The Tate Gallery
is chosen as a focus for these various historical, contemporary,
political and societal conflicts and its ability to hold our
gaze as an icon of culture, since it was founded in 1897. <br>
<br>
<br>
<p class="MsoEndnoteText"><span class="MsoEndnoteReference"><span
style="font-family:"Times New Roman""
lang="EN-US"><span style="mso-special-character:footnote"><span
class="MsoEndnoteReference"><span
style="font-size:12.0pt;font-family: "Times New
Roman";mso-fareast-font-family:"ＭＳ
明朝";mso-bidi-font-family:"Times New
Roman";
mso-ansi-language:EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SA"
lang="EN-US"></span></span></span></span></span><span
style="font-family:"Times New Roman"" lang="EN-US"></span><span
style="font-family:"Times New
Roman";mso-ansi-language:EN-GB">1. Gregory Sholette.
Dark Matter: Art and Politics in the Age of Enterprise
Culture. Pluto Press (January 4, 2011)</span></p>
<p class="MsoEndnoteText"><br>
<span style="font-family:"Times New
Roman";mso-ansi-language:EN-GB"><o:p></o:p></span></p>
<link rel="File-List"
href="file://localhost/Users/marcgarrett/Library/Caches/TemporaryItems/msoclip/0clip_filelist.xml">
<link rel="themeData"
href="file://localhost/Users/marcgarrett/Library/Caches/TemporaryItems/msoclip/0clip_themedata.xml">
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<blockquote
cite="mid:759A34F5-28F6-49DA-8B1E-679B1FD68763@white-mountain.net"
type="cite">
<pre wrap="">I don't normally comment on these things but felt slightly nauseous reading the self aggrandising blurb on the web site - reiterating the hierarchy of curator /critic over artist. - how could the artist possibly succeed with out them!
Maybe I'm just being over sensitive.?
John
Sent from my iPhonium
On 20 Mar 2013, at 17:51, marc garrett <a class="moz-txt-link-rfc2396E" href="mailto:marc.garrett@furtherfield.org"><marc.garrett@furtherfield.org></a> wrote:
</pre>
<blockquote type="cite">
<pre wrap="">sure is...
m
</pre>
<blockquote type="cite">
<pre wrap="">It's like the history of art...
/:b
On Wed, 20 Mar 2013, Simon Biggs wrote:
</pre>
<blockquote type="cite">
<pre wrap="">It's like the history of video art. You wait for one or
two generations of innovators to create the area of
practice. Then you ignore it long enough they are all
dead. Next step is to appropriate the domain with a new
generation of artists who are largely ignorant of the
previous activity and are more open to the
commercialisation of their work.
best
Simon
On 20 Mar 2013, at 12:02, <a class="moz-txt-link-abbreviated" href="mailto:astronaut@s373.net">astronaut@s373.net</a> wrote:
</pre>
<blockquote type="cite">
<pre wrap="">i wonder if they have been excluding for so long, igf
they will have access to it
On 19 Mar 2013, at 9:03 PM, helen varley jamieson wrote:
</pre>
<blockquote type="cite">
<pre wrap="">it's like the tate claiming last year that their live
performance series was the first online performance
series ... :D
On 19/03/13 4:54 PM, Simon Biggs wrote:
</pre>
<blockquote type="cite">
<pre wrap="">Oh dear
So we start to see the gate-keepers of the mainstream
art-world begin to invade online art-space. I wonder
what percentage of the artists they select will
actually be those who work with online media as core
to their practice.
best
Simon
On 19 Mar 2013, at 16:02, Andreas Broeckmann wrote:
</pre>
<blockquote type="cite">
<pre wrap="">(fwd)
BIENNALEONLINE 2013
</pre>
</blockquote>
</blockquote>
</blockquote>
</blockquote>
</blockquote>
<pre wrap="">
=============
Global Islands Project:
<a class="moz-txt-link-freetext" href="http://bbrace.net/id.html">http://bbrace.net/id.html</a>
"We fill the craters left by the bombs
And once again we sing
And once again we sow
Because life never surrenders."
-- anonymous Vietnamese poem
"Nothing can be said about the sea."
-- Mr Selvam, Akkrapattai, India 2004
"... for every star-driven enterprise there are corollary
benefits for those who support it and keep their mouths shut."
-- John Young, NYC 2010
"Shikata ga nai -- There's nothing we can do about it."
-- Japanese tsunami survivors, 2011
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--- <a class="moz-txt-link-freetext" href="http://bradbrace.net/undisclosed.html">http://bradbrace.net/undisclosed.html</a> ---
.
The 12hr-ISBN-JPEG Project >>>> posted since 1994 <<<<
+ + + serial <a class="moz-txt-link-freetext" href="ftp://ftp.eskimo.com/home/bbrace">ftp://ftp.eskimo.com/home/bbrace</a>
+ + + eccentric <a class="moz-txt-link-freetext" href="ftp://">ftp://</a> (your-site-here!)
+ + + continuous hotline://artlyin.ftr.va.com.au
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News: alt.binaries.pictures.12hr alt.binaries.pictures.misc
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Projects | Reverse Solidus: <a class="moz-txt-link-freetext" href="http://bradbrace.net/">http://bradbrace.net/</a>
| <a class="moz-txt-link-freetext" href="http://bbrace.net">http://bbrace.net</a>
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. Blog | <a class="moz-txt-link-freetext" href="http://bradbrace.net/wordpress">http://bradbrace.net/wordpress</a>
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~>
I am not a victim coercion is natural
I am a messenger freedom is artifical
/:b
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</pre>
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<pre wrap="">--
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A living - breathing - thriving networked neighbourhood -
proud of free culture - claiming it with others ;)
Other reviews,articles,interviews
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discussing and learning about experimental practices at the
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Furtherfield Gallery – Finsbury Park (London).
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</pre>
</blockquote>
</blockquote>
<br>
<br>
<pre class="moz-signature" cols="72">--
--->
A living - breathing - thriving networked neighbourhood -
proud of free culture - claiming it with others ;)
Other reviews,articles,interviews
<a class="moz-txt-link-freetext" href="http://www.furtherfield.org/reviews.php">http://www.furtherfield.org/reviews.php</a>
Furtherfield – online arts community, platforms for creating, viewing,
discussing and learning about experimental practices at the
intersections of art, technology and social change.
<a class="moz-txt-link-freetext" href="http://www.furtherfield.org">http://www.furtherfield.org</a>
Furtherfield Gallery – Finsbury Park (London).
<a class="moz-txt-link-freetext" href="http://www.furtherfield.org/gallery">http://www.furtherfield.org/gallery</a>
Netbehaviour - Networked Artists List Community.
<a class="moz-txt-link-freetext" href="http://www.netbehaviour.org">http://www.netbehaviour.org</a>
<a class="moz-txt-link-freetext" href="http://identi.ca/furtherfield">http://identi.ca/furtherfield</a>
<a class="moz-txt-link-freetext" href="http://twitter.com/furtherfield">http://twitter.com/furtherfield</a></pre>
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