羅玉梅. / "2010年8月". / "2010 nian 8 yue". / Thesis (M.F.A.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 32-33). / Abstracts in Chinese and English. / Luo Yumei. / Chapter 一、 --- 引言 --- p.1 / Chapter 二、 --- 批判藝術建制的命名 --- p.2 / Chapter 三、 --- 何謂批判藝術建制 --- p.3 / Chapter 四、 --- 藝術家之書與批判藝術建制的關係 --- p.7 / Chapter 五、 --- 批判藝術建制-藝術家之書作爲個案分析 --- p.9 / Chapter 六、 --- 圖解何謂內部與外圍建制分析 --- p.12 / Chapter 七、 --- 藝術家之書的內部建制及困難 --- p.15 / Chapter 八、 --- 藝術家之書的外圍建制及困難 --- p.20 / Chapter 九、 --- 藝術建制裡藝術家之書的生存策略 --- p.25 / Chapter 十、 --- 總結 --- p.28 / 圖片來源 --- p.30 / 參考書目 --- p.32 / 參考網頁 --- p.33

<p>This dissertation analyzes Wolf Vostell's <italic>Fluxus Zug</italic>, 1981, arguing that it was simultaneously a work of art, a museum, an academy, and an archive. I explore the art work/alternative institution in relation to other museums that Vostell conceived and realized from the 1960s until his death in 1998; the interdisciplinary collaborations that he established in the 1960s; his concept for an ideal academy from 1969; the archive that he began building in the 1950s; and recent theories of the Archive. This microhistorical study reveals Vostell's centrality to contemporary experimental art. I argue that the spirit of Vostell's art and ideas are very much alive today as artists demonstrate widespread interest in curating as an art practice, in the construction of alternative pedagogies, and in working in, with, and against the Archive.</p> / Dissertation

Buy Nathan Sharratt: A Requirement of the Masters of Fine Arts degree of Georgia State University, is a multidiscipline and multiplatform exhibition of post-institutional critique that uses my lived experience of being an academic artist pursuing a terminal art degree at a public university as its point of departure. It evaluates how societal expectations influence the formation of individual and group identity in mediated culture. Buy Nathan Sharratt challenges the hierarchy of economic and social value systems by simulating an institutional museum retrospective of super-famous and super-commoditized artist “Nathan Sharratt.” The exhibition is divided into a gallery space, a project space, a gift shop, and a virtual space. It includes art objects and performances to pose that the art experience has been compressed into a simulation, in which art serves as the trigger for social networking and virtual experiences, rather than critical assessment.

Thesis (M.A.)--Baylor University, 2008. / Includes bibliographical references (p. 67-71).

This dissertation examines distance learning within a local, particular context: UCF's English department. In order to fully examine distance learning in this specific environment, I employ institutional critique as my methodology, a rhetorical and spatial approach that allows me to map distance learning within UCF's English department. Drawing upon the work of David Harvey, I examine the experienced, perceived, and imagined spaces of distance learning in our department. Through an examination of the history of naming UCF, rhetorical analyses of institutional documents that reference technologies, analysis of survey results noting faculty attitudes and perceptions of online learning, and postmodern mapping of faculty members' perceived and ideal spaces, we can find local solutions for local problems related to distance learning.

No description available.

The thesis catches  up a phenomenon in contemporary exhibition practice: the presentation of art beyond traditional platforms such as museums and galeries. It is the Berlin based nightclub Berghain that in this case study is object for an analysis of an alternative art space. The two photographies Ostgut Freischwimmer rechts and Ostgut Freischwimmer links of the german artist Wolfgang Tillmans were to be seen there after being sold to art museums in Switzerland exhibited together with other works of the collection at Fondation Beyeler. The comparison of the club as the new and alternative and the museum as the traditional and institutional is the specific concern of the work: on which institutional structures is the staging of art based  on and how can they be altered and contrasted by means of place and exhibition features. The meaning of art is determined by its physical setting and the institutional and ideological constituencies that are lying behind it. This interconnection is examined by terms of Henri Lefebvre social space and Arthur C. Danto and George Dickie. Contextualisation, categorisation and the creation of an aura of theory as well as established roles and hirarchies determine the institutionalized artwold and are reverted in the attempt to create an alternative space. The creation of the new is based on its differentiation from the traditional and is therefore to be seen as a concept, a repetition of structures that is filled with new contents. In his function of curator to both of the exhibitions, Wolfgang Tillmans extends his artistical practice over the medium of photography - by this way, the pictures meaning is transcending its visuality and interacts with the space, communicating different values in different situations. The comparison of the the two exhibition sites shows: silence is replaced by sound, contemplation is replaced by movement, history and context by nowness and momentarity.  But still is the exhibition of art is bound to structures. The question therefore should not concentrate on finding an alternative beyond institutional structures, but on which kind of institution it could be that expresses the intended meaning of an art work. By this terms, the argument can be traced back to Wolfgang Tillmans himself and both his personal, artistic and curatorial world view:  imagining an anti-hirarchical culture in which no one is to claim the truth further than in its own immediate moment of experiencing it

Esta pesquisa, desenvolvida na linha de pesquisa de Poéticas Visuais, é constituída pela exposição Campo Neutral, realizada em 2013 no Museu da Gravura Cidade de Curitiba (MGCC) e a refexão crítica Campo Neutral: limites e tensões entre práticas artísticas, curatoriais e instituições de arte, aqui apresentada como um desdobramento da exposição. Para construção de um relato crítico que analisa a exposição, os trabalhos nela expostos e os respectivos contextos de produção e recepção, a tese concebe um campo teórico delineado pela relação entre crítica institucional e contextos institucionais precários. Compreendida como uma prática que estabelece uma relação crítica entre discursos e práticas artísticas, curatoriais e instituições de arte, a crítica institucional que, desde os anos 1960, é praticada e debatida por artistas, curadores, críticos e historiadores europeus e norte-americanos, é contraposta a práticas artísticas e curatoriais latino-americanas realizadas em contextos nos quais a existência das instituições é incerta, ou nula, tal qual a do MGCC. / This research, developed in feld of Visual Poetics, consists of the exhibition \"Campo Neutral\", held in 2013 at the \"Museu da Gravura da Cidade de Curitiba\" (MGCC), Brazil, and a critical refection \"Campo Neutral: limits and tension between artistic and curatorial practices, and art institutions\", represented here as a deployment of the exhibition. For the construction of a critical report that analyzes the exhibition, the works there exposed and their contexts of production and reception, the thesis delineates a theoretical feld outlined by the relationship between institutional critique and precarious institutional contexts. Understood as a practice that establishes a critical relationship between speech and artistic and curatorial, and art institutions, institutional critique that, since the 1960s, is practiced and discussed by artists, curators, critics, and European and American historians, is a counterpoint to artistic and curatorial Latin American practices carried out in context of which the existence of institutions is uncertain, or absent, like the MGCC.

This is a study of the early work of the American artist Louise Lawler and her collaborators, including Christopher D’Arcangelo, Sherrie Levine, and Jenny Holzer. It centers on the New York art world between 1978 and 1983—a moment hailed as the end of avant-gardism and the birth of postmodernism—and examines the legacy and transformation of conceptual art and institutional critique by a new generation of artists during this period. Lawler’s practice is analyzed in relation to her Pictures Generation peers, so named for their affiliation with the non-profit space Artists Space (which mounted the influential exhibition "Pictures," curated by Douglas Crimp, in 1977) and the commercial gallery Metro Pictures, founded in 1980. The work of Pictures artists is united by its appropriation of images and texts that were culled from everyday life and modified through photographic strategies such as cropping, captioning, and juxtaposition. These artists, many of them women, developed a critique of representation—in Gayatri Spivak’s words, of "standing-for" and "speaking-for"—located at the crossroads of feminism and postmodernism. Though Lawler’s practice was understood as institutional critique at the moment of its emergence, she has since been historicized as a Pictures artist. This study understands her as a double agent who deliberately operates between and across spheres usually kept separate. In so doing, she refigures the practice of critique as a subtle form of maneuvering that I, following the artist, term finesse. The key contribution of Lawler’s work is a new understanding of power, informed by the politics of identity and difference, which accounts for the crucial importance of subjectivity and positioning in the act of critique.

Tomando as revistas como a Tatuí e a Número, analisa-se aqui as relações presentes nas suas produções de crítica de arte circuladas por meio de publicações auto-organizadas. Colocam-se questões sobre a atuação na prática de escrita de crítica de arte e seu possível caráter experimental nos anos 2000. Considera-se um contexto de crescimento da profissionalização e suas implicações nas práticas teóricas em diálogo com as práticas do trabalho de arte. Procuramos investigar também, nesse processo da difusão de discussão crítica, o pensamento sobre os circuitos e as instituições como possíveis locais ambivalentes de tensão e de amplificação. As estratégias de tais publicações observam a criação de seus espaços de interlocução possíveis, considerando tal contexto muitas vezes caracterizado como o de crise da potencialidade de contribuição da crítica. / Taking the Tatuí and Número magazines, we analise here the relations on the production of art criticism on circulation via selforganised publications. Posing questions on the practice of art writing and its possible experimental character on the 2000’s. Considering a rising profissionalization context and its implications on theoretical practices dialoging with art work practices. We also seek to investigate, on this process of profused critic discussion, the thinking of circuits and the institutions as ambivalent places of tension and amplification. The publication estrategies observe the creation of their possible interlocution spaces, conidering such context as one often characterized as the of crisis on the potencial critical contribution.