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Author: Gabriele Detterer
Publisher: Jrp Ringier
ISBN: 9783037641910
Category : Art
Languages : en
Pages : 0
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Book Description
This volume was developed in collaboration with founders of important and exemplary artist-run spaces of the 1960s-1970s.It represents the first extensive research on this subject and introduces spaces such as Art Metropole in Toronto, Artpool in Budapest, Ecart in Geneva, Franklin Furnace in New York, MOCA in San Francisco, La Mamelle in San Francisco, Printed Matter in New York, Western Front in Vancouver, and Zona in Florence.The founders of these artist-run spaces include Carl Andre, John Armleder, AA Bronson, Sol LeWitt, Lucy Lippard, Tom Marioni, and Maurizio Nannucci. At a time of transition to new aesthetic approaches, these artists promoted community spirit and organizational skills, pioneering a revaluation of traditional art concepts.The book documents not only the activities of these spaces, but also maps the artistic strategies and positions that took currency during this period. It thus shows how the inner life of collective self-organization and the exchange between like-minded artist-run spaces developed dynamically.The book is part of the Documents series and is co-published with Zona Archives.
Author: Gabriele Detterer
Publisher: Jrp Ringier
ISBN: 9783037641910
Category : Art
Languages : en
Pages : 0
Get Book Here
Book Description
This volume was developed in collaboration with founders of important and exemplary artist-run spaces of the 1960s-1970s.It represents the first extensive research on this subject and introduces spaces such as Art Metropole in Toronto, Artpool in Budapest, Ecart in Geneva, Franklin Furnace in New York, MOCA in San Francisco, La Mamelle in San Francisco, Printed Matter in New York, Western Front in Vancouver, and Zona in Florence.The founders of these artist-run spaces include Carl Andre, John Armleder, AA Bronson, Sol LeWitt, Lucy Lippard, Tom Marioni, and Maurizio Nannucci. At a time of transition to new aesthetic approaches, these artists promoted community spirit and organizational skills, pioneering a revaluation of traditional art concepts.The book documents not only the activities of these spaces, but also maps the artistic strategies and positions that took currency during this period. It thus shows how the inner life of collective self-organization and the exchange between like-minded artist-run spaces developed dynamically.The book is part of the Documents series and is co-published with Zona Archives.
Author: Melissa Rachleff
Publisher: National Geographic Books
ISBN: 3791355589
Category : Art
Languages : en
Pages : 0
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Book Description
This enlightening and thought-provoking look at New York City’s postwar art scene focuses on the galleries and the artists that helped transform American art. While the achievements of New York City’s most renowned postwar artists—de Kooning, Pollock, Rothko, Franz Kline— have been studied in depth, a large cadre of lesser-known but influential artists came of age between 1952 and 1965. Also understudied are the early, experimental works by more well- known figures such as Mark di Suvero, Jim Dine, Dan Flavin, and Claes Oldenburg. Focusing on innovative artist-run galleries, this book invites readers to reevaluate the period—uncovering its diversity, creativity, and nuances, and tracing the spaces’ influence during the decades that followed. Inventing Downtown charts the development of artist-run galleries in Lower Manhattan from the early 1950s to the mid-1960s, showing how the area’s multicultural spirit played a major role in shaping the artworks exhibited there. The book explores 14 key spaces in which styles such as Pop, Minimalism, and performance and installation art thrived. Excerpts from 33 revealing interviews with artists, critics, and dealers, conducted by Billy Klu&̈ver and Julie Martin, offer unique personal insight into the era’s creative milieu. Taken together, the book’s essays and interviews provide a distinctly new assessment of how downtown New York’s fertile environment nurtured an innovative art scene.
Author: Gavin Murphy
Publisher: Onomatopee
ISBN: 9789491677564
Category : Alternative spaces (Arts facilities)
Languages : en
Pages : 204
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Book Description
Part how-to manual, part history, part sociopolitical critique, Artist-Run Europe looks
Author: Edward Winkleman
Publisher: Simon and Schuster
ISBN: 1621536572
Category : Art
Languages : en
Pages : 304
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Book Description
“A comprehensive guide.” —Artspace. “Whether you are new to the business or a seasoned gallerist, it is always wise to remember the essentials.” —Leigh Conner, director, Conner Contemporary Art Aspiring and new art gallery owners can find everything they need to plan and operate a successful art gallery with How to Start and Run a Commercial Art Gallery. This new edition has been updated to mark the changes in market and technology over the past decade. Edward Winkleman and Patton Hindle draw on their years of experience to explain step by step how to start your new venture. From finding the ideal locale and renovating the space to writing business plans and securing start-up capital, this helpful guide has it all. Chapters detail how to: Manage cash flow Grow your new business Hire and manage staff Attract and retain artists and clients Represent your artists Promote your gallery and artists online Select the right art fair And more How to Start and Run a Commercial Art Gallery, Second Edition, also includes sample forms, helpful tips from veteran collectors and dealers, a large section on art fairs, and a directory of art dealer associations.
Author: Lauren Rosati
Publisher: National Geographic Books
ISBN: 0262017962
Category : Art
Languages : en
Pages : 0
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Book Description
A groundbreaking history of pioneering alternative art venues in New York where artists experimented, exhibited, and performed outside the white cube and the commercial mainstream. This groundbreaking book—part exhibition catalogue, part cultural history—chronicles alternative art spaces in New York City since the 1960s. Developed from an exhibition of the same name at Exit Art, Alternative Histories documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the development of alternative spaces was almost synonymous with the rise of the contemporary art scene. Beginning in the 1960s and early 1970s, it was within a network of alternative sites—including 112 Greene Street, The Kitchen, P.S.1, FOOD, and many others—that the work of young artists like Yvonne Rainer, Vito Acconci, Gordon Matta-Clark, Ana Mendieta, David Wojnarowicz, David Hammons, Adrian Piper, Martin Wong, Jimmie Durham, and dozens of other now familiar names first circulated. Through interviews, photographs, essays, and archival material, Alternative Histories tells the story of such famous sites and organizations as Judson Memorial Church, Anthology Film Archives, A.I.R. Gallery, El Museo del Barrio, Franklin Furnace, and Eyebeam, as well as many less well-known sites and organizations. Essays by the exhibition curators and scholars, and excerpts of interviews with alternative space founders and staff, provide cultural and historical context. Contributors Jacki Apple, Papo Colo, Jeanette Ingberman, Melissa Rachleff, Lauren Rosati, Mary Anne Staniszewski, Herb Tam Interviewees Steve Cannon, Rhys Chatham, Peter Cramer and Jack Waters, Carol Goodden, Alanna Heiss, Bob Lee, Joe Lewis, Inverna Lockpez, Ann Philbin, Anne Sherwood Pundyk and Karen Yama, Irving Sandler, Adam Simon, Martha Wilson
Author: Nina Friedman
Publisher:
ISBN:
Category : Alternative spaces (Arts facilities)
Languages : en
Pages : 0
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Book Description
Artist-run spaces are a unique subset of the art world. Originally established in opposition to the established commercial galleries and institutions of the 1960s, since then they have been fully embraced by artists, funders, and patrons as important sites of experimentation and incubation that are free of commercial constraints. Given their experimental nature, the path to maintain and sustain operations is not prescribed and many of these spaces struggle to achieve the kind of longevity and sustainability that is necessary to deliver on their mission. Three case studies of long running organizations illuminate the unique origins of artist-run spaces, how they mature over time, and how forces such as gentrification, hierarchical power structures, grassroots partnerships, and strong leadership are all intertwined to contribute to the longevity of these spaces. Case studies include The Mattress Factory, Pittsburgh, PA (est. 1977), White Columns, New York, NY (est. 1970), and Bunker Projects, Pittsburgh, PA (est. 2013). This study asserts that ultimately long standing artist-run organizations have dedicated and visionary leadership; have capitalized on strategic real estate or economic opportunities (which often includes encouraging the cycle of gentrification); and must be self-reflexive as to their mission and objectives in order to stay relevant as trends change.
Author: Julie Ault
Publisher: U of Minnesota Press
ISBN: 9780816637942
Category : Art
Languages : en
Pages : 410
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Book Description
A sweeping history of the New York art scene during the 1960s, 1970s, and 1980s reveals a powerful "alternative" art culture that profoundly influenced the mainstream. Simultaneous. (Fine Arts)
Author: Jeff Khonsary
Publisher: Fillip Editions
ISBN: 9781927354339
Category : Art
Languages : en
Pages : 240
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Book Description
The second volume of Institutions by Artists looks at various global artist-run centers and initiatives within the historical contexts that saw their emergence--among them Western Front (Vancouver), Alice Yard (Trinidad and Tobago), ASCO (Los Angeles) and General Idea (Toronto). It compiles material presented at and around the Institutions by Artists conference, organized in Vancouver in 2012, documenting a series of historical and theoretical texts on artist-led practices as well as transcripts of two debates investigating the professionalization and state sponsorship of art.
Author: David Curtis
Publisher: John Libbey Publishing
ISBN: 0861969804
Category : Art
Languages : en
Pages : 177
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Book Description
This is the story of two short-lived artist-run spaces that are associated with some of the most innovative developments in the arts in Britain in the late 1960s. The Drury Lane Arts Lab (1967–69) was home to the first UK screenings of Andy Warhol's twin-screen 3 hour film Chelsea Girls, challenging exhibitions (John and Yoko / John Latham / Takis / Roelof Louw), poetry and music (first UK performance of Erik Satie's 24-hour Vexations) and fringe theatre (People Show / Freehold / Jane Arden's Vagina Rex and the Gas Oven / Will Spoor Mime Theatre). The Robert Street 'New Arts Lab' (1969–71) housed Britain's first video workshop TVX, the London Filmmakers Co-op's first workshop and a 5-days-a-week cinema devoted to showing new work by moving-image artists (David Larcher / Malcolm Le Grice / Sally Potter / Carolee Schneemann / Peter Gidal). It staged J G Ballard's infamous Crashed Cars exhibition and John & Dianne Lifton's pioneering computer-aided dance/mime performances. The impact of London's Labs led to an explosion of new artist-led spaces across Britain. This book relates the struggles of FACOP (Friends of the Arts Council Operative) to make the case for these new kinds of space and these new art-forms and the Arts Council's hesitant response – in the context of a popular press already hostile to youth culture, experimental art and the 'underground'. With a Foreword by Andrew Wilson, Curator Modern & Contemporary British Art and Archives, Tate Gallery.
Author: Lynn Basa
Publisher:
ISBN:
Category : Alternative spaces (Arts facilities)
Languages : en
Pages : 82
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Book Description
Artist-run galleries in neighborhoods seemingly present lower barriers to entry for the general public relative to traditional institutions, yet their audiences are still mainly limited to the art community. What is keeping more diverse populations from accessing these spaces and why does it matter? I explored these questions through audience participation studies by Pierre Bourdieu, the National Endowment for the Arts, and first-person interviews of artists with non-commercial DIY galleries in Chicago: Hume, THE FRANKLIN, Corner, Terrain. It became apparent that attendance is affected for similar reasons whether for large, established venues or for small, alternative ones. How people choose to use their leisure time to attend "high art" events breaks down roughly along lines of socioeconomic class and education level. While small art venues can use strategies recommended for large organizations to attract broader participation -such as welcoming signage, pedagogical prompts, and social events - I concluded that a significant, under-recognized value of these independent art spaces is the very fact that the artists themselves are participating members of their respective local communities, in addition to providing support to our primary audience, fellow artists.
