Artist-run culture has emerged in part as an alternative to the market and the limitations market-driven priorities have placed on the artist in terms of creative autonomy. Highly dependent on state sources of funding in many contexts, artist-run culture has, to some degree, forfeited autonomy to the state in order to meet bureaucratic funding requirements or to avoid censorship and ideological conflict. In this light, the “state vs. the market” dichotomy significantly moulds contemporary artist-run activity including the means of production and distribution for contemporary art. The first keynote debate will examine this dimension of artist-run culture by focusing on the grey zone, if there is one, between reliance on state programs and po...
Revisiting the major themes that emerge in the articles of Art and the Challenge of Markets, Volume ...
How can artists and artists’ collectives best navigate the passage from our current neoliberalized a...
Since the 1970s, it has been possible to discuss cultural policy in terms of the discourses ‘art as ...
As artists have taken on the creation of artist-run organizations or have turned themselves or their...
As a result of socioeconomic shifts occasioned by neoliberalism and globalization over the last twen...
My research is concerned with the formation of artists as creative subjects in an increasingly neoli...
The Arts: 2nd Place (The Ohio State University Edward F. Hayes Graduate Research Forum)This paper ex...
The questions posed by the Committee are ones that artists and their well-wishers are asking in many...
"Transnational markets hold sway over all aspects of contemporary culture, and that has transformed ...
Artists are under pressure from two conflicting sets of sociocultural expectations. On the one hand,...
Over the course of the 20th century the market for contemporary art has emerged to dominate percepti...
Debate over arts policy in the United States today rightly focuses on the legal background of market...
A two-part forum at Open School East, chaired by Helena Reckitt, featuring presentations from a numb...
Freee art collective discuss their practice based on three principles: 1. Our participants don’t ag...
Socially engaged art practices connect with a tradition of avant-garde perspectives on art’s potenti...
Revisiting the major themes that emerge in the articles of Art and the Challenge of Markets, Volume ...
How can artists and artists’ collectives best navigate the passage from our current neoliberalized a...
Since the 1970s, it has been possible to discuss cultural policy in terms of the discourses ‘art as ...
As artists have taken on the creation of artist-run organizations or have turned themselves or their...
As a result of socioeconomic shifts occasioned by neoliberalism and globalization over the last twen...
My research is concerned with the formation of artists as creative subjects in an increasingly neoli...
The Arts: 2nd Place (The Ohio State University Edward F. Hayes Graduate Research Forum)This paper ex...
The questions posed by the Committee are ones that artists and their well-wishers are asking in many...
"Transnational markets hold sway over all aspects of contemporary culture, and that has transformed ...
Artists are under pressure from two conflicting sets of sociocultural expectations. On the one hand,...
Over the course of the 20th century the market for contemporary art has emerged to dominate percepti...
Debate over arts policy in the United States today rightly focuses on the legal background of market...
A two-part forum at Open School East, chaired by Helena Reckitt, featuring presentations from a numb...
Freee art collective discuss their practice based on three principles: 1. Our participants don’t ag...
Socially engaged art practices connect with a tradition of avant-garde perspectives on art’s potenti...
Revisiting the major themes that emerge in the articles of Art and the Challenge of Markets, Volume ...
How can artists and artists’ collectives best navigate the passage from our current neoliberalized a...
Since the 1970s, it has been possible to discuss cultural policy in terms of the discourses ‘art as ...