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The New Administration of Aesthetics
$35.00
Edited by Tone Hansen and Trude Iversen
Oslo, Norway: Torpedo Press, 2007
Pages: 128
Dimensions: 8.25" x 5.75" (book is rectangular with a small triangular divot cut out of the upper left hand corner)
Cover: soft
Binding: perfect bound
Process: digital
Color: b&w printing on pages that change color
Edition size: unknown
ISBN: 978-82-997365-1-0
This publication stems from questions about the role of critical art practices in and in relation to institutions and how both have changed since the inception of conceptual art practice. It was made to add to a conference called The New Administration of Aesthetics held in Oslo in April 2006. It extends the contributors' presentations from the conference. Contributors include: Trude Iversen, Gerald Raunig, Stian Grøgaard, Tone Hansen, Adriana Kuiper, Carey Young, Craig Buckley, 16 Beaver, Brian Holmes, Maria Lind, and Alex Farquharson.
The back cover of the book tells us that:
The questions posed at the conference originated from the last few years of observations and discussions concerning the changes in the art institution, and how this affects those involved. New institutional models and organizational methods seem to have the effect of polarization rather than coherence. The art institution understood in singular as an assemblage of the artists, curators, art critics,theoreticians, historians and their related museums, galleries and educational institutions, seems no longer to offer an adequate ground for analysis, and is already being replaced by other forms of alliances.
Currently, pragmatic, short- or long-term identifications take place in the art scene contrary to old oppositions, something which demands a change in conceptual framework and hermeneutic horizons. Are we witnessing an organizational transition, an attempt to avoid an increasing focus on the advantages of large-scale operation and corporate management? Do the new forms of alliances signify a pre-modern de-differentiation, where the artist is her own curator, and where the critic writes on demand from the gallery, undermining the possible function of art as a critical corrective? Or is it rather a question of softening a system of restrictions, a critique of limiting definitions concealing unfortunate structures?
Oslo, Norway: Torpedo Press, 2007
Pages: 128
Dimensions: 8.25" x 5.75" (book is rectangular with a small triangular divot cut out of the upper left hand corner)
Cover: soft
Binding: perfect bound
Process: digital
Color: b&w printing on pages that change color
Edition size: unknown
ISBN: 978-82-997365-1-0
This publication stems from questions about the role of critical art practices in and in relation to institutions and how both have changed since the inception of conceptual art practice. It was made to add to a conference called The New Administration of Aesthetics held in Oslo in April 2006. It extends the contributors' presentations from the conference. Contributors include: Trude Iversen, Gerald Raunig, Stian Grøgaard, Tone Hansen, Adriana Kuiper, Carey Young, Craig Buckley, 16 Beaver, Brian Holmes, Maria Lind, and Alex Farquharson.
The back cover of the book tells us that:
The questions posed at the conference originated from the last few years of observations and discussions concerning the changes in the art institution, and how this affects those involved. New institutional models and organizational methods seem to have the effect of polarization rather than coherence. The art institution understood in singular as an assemblage of the artists, curators, art critics,theoreticians, historians and their related museums, galleries and educational institutions, seems no longer to offer an adequate ground for analysis, and is already being replaced by other forms of alliances.
Currently, pragmatic, short- or long-term identifications take place in the art scene contrary to old oppositions, something which demands a change in conceptual framework and hermeneutic horizons. Are we witnessing an organizational transition, an attempt to avoid an increasing focus on the advantages of large-scale operation and corporate management? Do the new forms of alliances signify a pre-modern de-differentiation, where the artist is her own curator, and where the critic writes on demand from the gallery, undermining the possible function of art as a critical corrective? Or is it rather a question of softening a system of restrictions, a critique of limiting definitions concealing unfortunate structures?
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