In 1967, the German dealer Konrad Fischer opened his gallery by importing artists rather than their works. The result was a new infrastructure between America and Europe whose parameters defined the art of the 1970s and continue to resonate today. This dissertation considers the origins and ramifications of this shift on the level of market organization and a redefinition of the artistic process in computational terms.
| Identifer | oai:union.ndltd.org:columbia.edu/oai:academiccommons.columbia.edu:10.7916/D8Z60PC0 |
| Date | January 2016 |
| Creators | Sanchez, Michael Hays |
| Source Sets | Columbia University |
| Language | English |
| Detected Language | English |
| Type | Theses |
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