One and the Many , livre ebook

330

pages

English

Ebooks

2011

Écrit par
Kester Grant H. Kester

Publié par
Duke University Press

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330

pages

English

Ebooks

2011

Lire un extrait

Obtenez un accès à la bibliothèque pour le consulter en ligne En savoir plus

Publié par

Duke University Press

Date de parution

12 septembre 2011

Nombre de lectures

EAN13

9780822394037

Langue

English

Poids de l'ouvrage

3 Mo

Collaborative and collective art practices have proliferated around the world over the past fifteen years. In The One and the Many, Grant H. Kester provides an overview of the broader continuum of collaborative art, ranging from the work of artists and groups widely celebrated in the mainstream art world, such as Thomas Hirschhorn, Superflex, Francis Alys, and Santiago Sierra, to the less-publicized projects of groups, such as Park Fiction in Hamburg, Networking and Initiatives for Culture and the Arts in Myanmar, Ala Plastica in Argentina, Huit Facettes in Senegal, and Dialogue in central India. The work of these groups often overlaps with the activities of NGOs, activists, and urban planners. Kester argues that these parallels are symptomatic of an important transition in contemporary art practice, as conventional notions of aesthetic autonomy are being redefined and renegotiated. He describes a shift from a concept of art as something envisioned beforehand by the artist and placed before the viewer, to the concept of art as a process of reciprocal creative labor. The One and the Many presents a critical framework that addresses the new forms of agency and identity mobilized by the process of collaborative production.

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Publié par

Duke University Press

Date de parution

12 septembre 2011

EAN13

9780822394037

Langue

English

Poids de l'ouvrage

3 Mo

History of art

— THEONEANDTHEMANY —

— THEONETHEMANY AND Contemporary Collaborative Art in a Global Context —

Grant H. Kester

DUKE UNIVERSITY PRESS DURHAM AND LONDON 2011

Printed in the United States of America on acid-free paper ♾

Typeset in Warnock Pro by Tseng ïnformation Systems, ïnc.

Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book.

Duke University Press gratefully acknowledges the support provided through the Arts and umanities ïnnovation Fund and the OIce of the Dean of Arts and umanities at the University of California, San Diego, and the Creative Capital | Andy Warhol Foundation Arts Writers Grant Program, which provided funds toward the production of this book.

To Samira Kester, my collaborator in life

CONTENTS

ix— ACKNOWLEDGMENTS

1— INTRODUCTION

1.HeSemanticsofCollaboration

2. Art Practice and the ïntellectual Baroque

19—ONE CHAPTER A U T O N O M Y, A N TA G O N I S M , A N D T H E A E S T H E T I C

1. From Text to Action

2. Park Fiction, Ala Plastica, and Dialogue

3.RelationalAntagonism

4. He Risk of Diversity

5.ProgrammaticMultiplicity

6. Art Heory and the Post-structuralist Canon

67— CHAPTER TWO T H E G E N I U S O F T H E P L A C E

1. Lessons in Futility

2. Enclosure Acts

3. He Twelfth Seat and the Mirrored Ceiling

4. He Atelier as Workshop

5. Labor, Praxis, and Representation

6.HeDividedandïncompleteSubject of Yesterday

7.MemoriesofDevelopment

8.HeLimitsofEthicalCapitalism

9. He Art of the Locality

155— CHAPTER THREE E M I N E N T D O M A I N : A RT A N D U R B A N S PA C E

1. Blindness and ïnsight

2. He ïnvention of the Public

3. He Boulevards of the ïnner City

4.ParkFiction:Desire,Resistance,andComplicity

5. A Culture of Needles: Project Row ouses in ouston

229— NOTES

281— REFERENCES

295— INDEX

ACKNOWLEDGMENTS

ït is a commonplace that any book is the product of collaboration rather than singular authorship, but in this case it has the virtue of being true. e One and the Manywas only made possible by the generosity of a great number of colleagues and friends. ï’d like to give special thanks to Nav-jot Altaf, Shantibai, Gessuram, and Rajkumar of Dialogue; Silvina Babich, Alejandro Metin, and Rafael Santos of Ala Plastica (Rafael has since left the group); Christoph Schäfer and Margit Czenki of Park Fiction; Rick Lowe of Project Row ouses; Amadou Kane-Si and Muhsana Ali of uit Facettes ïnteraction; and Jay Koh and Chu Yuan of îÇĀ . Hanks also to Annie Mendoza, Navjot Altaf, and Rajkumar for help with translations in San Diego and Bastar, and to Patrick Deegan and Noel efele for conduct-ing interviews in conjunction with theGroundworksexhibition in Pitts-burgh. He travel necessary to research this book would not have been possible without the generous support of the Creative Capital/Warhol Foundation Arts Writers Grant Program, one of the only programs of its kind available to art historians and critics writing on contemporary art. Research for this book was also supported by the Getty Research ïnstitute (during a 2004 fellowship), and the Division of the Arts and umanities and the Center for the umanities at the University of California, San Diego. ï would also like to thank Anne Douglas and Carole Gray at Gray’s

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