Franz West: Auto-Theatre

 

In cooperation with the Museum Ludwig Cologne and the MADRE Naples, Kunsthaus Graz is putting on a major retrospective of Franz West. The exhibition involves close co-operation with the artist and his studio and archives. Works from all creative periods and a wide range of media and techniques show the complexity and individuality of his work – graphics, posters, “Passstücke”, furniture, installations and joint projects with other artists. Many of the works exhibited come from private collections, and have rarely been exhibited. Franz West will also erect an outside sculpture in the immediate environment of the Kunsthaus Graz.

via this is tomorrow – Franz West: Auto-Theatre.

Depiction

Depiction is meaning conveyed through pictures. Basically, a picture maps an object to a two-dimensional scheme or picture plane. Pictures are made with various materials and techniques, such as painting, drawing, or prints including photography and movies mosaics, tapestries, stained glass, and collages of unusual and disparate elements. Occasionally pictures may occur in simply inkblots, accidental stains, peculiar clouds or a glimpse of the moon, but these are special cases. Sculpture and performances are sometimes said to depict but this arises where depiction is taken to include all reference that is not linguistic or notational. The bulk of research in depiction however deals only in pictures. While sculpture and performance clearly represent or refer, they do not strictly picture their objects.

via Depiction – Wikipedia, the free encyclopedia.

Institutional theory of art

The institutional theory of art is a theory about the nature of art that holds that an object can only be(come) art in the context of the institution known as “the artworld”.

Addressing the issue what makes, for example, Marcel Duchamp’s “readymades” art, or why a pile of Brillo cartons in a supermarket is not art, whereas Andy Warhol’s famous Brillo Boxes (a pile of Brillo carton replicas) is, the art critic and philosopher Arthur Danto wrote in his 1964 essay “The Artworld”:

To see something as art requires something the eye cannot descry—an atmosphere of artistic theory, a knowledge of the history of art: an artworld.[1]

According to Robert J. Yanal, Danto’s essay, which coined the term “artworld”, outlined the first institutional theory of art.[2]

Versions of the institutional theory were formulated more explicitly by George Dickie in his article “Defining Art” (American Philosophical Quarterly, 1969) and his books Aesthetics: An Introduction (1971) and Art and the Aesthetic: An Institutional Analysis (1974). An early version of Dickie’s institutional theory can be summed up in the following definition of work of art from Aesthetics: An Introduction:

A work of art in the classificatory sense is 1) an artifact 2) upon which some person or persons acting on behalf of a certain social institution (the artworld) has conferred the status of candidate for appreciation.[3]

Dickie has reformulated his theory in several books and articles. Other philosophers of art have criticized his definitions as being circular.[4]

via Institutional theory of art – Wikipedia, the free encyclopedia.