Konstfacks bibliotek

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*24500$aArtist-run Europe :$bpractice, projects, spaces /$ceditors, Gavin Murphy & Mark Cullen.
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*4901 $aOnomatopee ;$v#127$vno. 127.
*504  $aIncludes bibliographical references.
*520  $aPart how-to manual, part history, and part socio-political critique, 'Artist-Run Europe' looks at the conditions, organisational models, and role of artist-led practice within contemporary art and society. The aim is to show how artist-run practice manifests itself, how artist-run spaces are a distinctive and central part of visual art culture, and how they present a complex, heterogeneous, and necessary set of alternatives to the art institution, museum and commercial gallery. In a self-reflexive, critically questioning process, contributions by Jason E. Bowman, AA Bronson, Noelle Collins, Valerie Connor, Mark Cullen, Celine Kopp, Joanna Laws, Freek Lomme, Megs Morley, Gavin Murphy, Transmission Gallery, Gavin Wade, and Katherine Waugh, discuss and analyse areas such as: What position do artist-run spaces occupy within the field of contemporary art today?
*599  $aImported from: ap01.alma.exlibrisgroup.com:1921/61SLNSW_INST (Do not remove)
*650 0$aArt, European$y21st century.
*650 0$aArt museums$zEurope.
*650 0$aArt and society$zEurope.
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*7001 $aMurphy, Gavin$eeditor.$4edt
*7001 $aCullen, Mark,$d1972-$eeditor.$4edt
*830 0$aOnomatopee (Series) ;$v#127$vno. 127.
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Part how-to manual, part history, and part socio-political critique, Artist-Run Europe looks at the conditions, organizational models, and role of artist-led practice within contemporary art and society. The aim is to show how artist-run practice manifests itself, how artist-run spaces are a distinctive and central part of visual art culture, and how they present a complex, heterogeneous, and necessary set of alternatives to the art institution, museum, and commercial gallery.

In a self-reflexive, critically questioning process, contributions discuss and analyze areas such as: What position do artist-run spaces occupy within the field of contemporary art today? Should they stand in opposition to or in parallel to other art-world structures? How is value ascribed to these often transitory practices, and is this value recognized within the field? How are these spaces organized? Can artist-run spaces develop and be sustained without the need to institutionalize? What do artist-run spaces add to the ecology of the civil society? What can we say about future (or hoped for) trajectories?

Such a publication is timely and unique, with case studies of spaces and projects: Triangle France, Transmission Gallery, Pallas Projects/Studios, Eastside Projects, Catalyst Arts, Pink Cube, Secession, Dienstgebaeude, Supermarket, 126 Artist-led Gallery, and The Artist-led Archive; and an expansive and detailed index of artist-run spaces in Europe. It will seek to develop and encourage discourse on the subject within the wider field of contemporary practice, be a source for academics and students, and act as a practical tool for those running or wishing to set up artist-run spaces.