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The book takes a close look at how small- to mid-scale institutional models depart, each in a different way, from the traditional formats of the white cube. Structured around a questionnaire of thirteen questions posed to 15 different self-organized art institutions including Asakusa, Kunstverein, Louise Dany, Pivô, RAW Material Company, and The Artist's Institute, the book brings together a toolbox of examples giving insights into the murky and meticulous work of constructing an institutional platform - the "hows", "whats", and "whys" - spoken of by someone on the inside, in the engine room. The focus thus revolves around the operation of alternative mechanisms, instigating unconventional hierarchies and interdependencies between artwork, artist, audience, institution - between participants and authors, agents and aliens. The institutional contributions are bracketed by an introductory roundtable by Rhea Dall, Prem Krishnamurthy, and Chris Sharp, an essay reflecting on the necessity and irreverence of Ashkal Alwan by Christine Tohme, and a conversation between Dall and Chris Kraus on collective practices. The book is a sequel to the Bande à part conference on independent art institutions held at UKS (Unge Kunstneres Samfund / Young Artists' Society) in Oslo in 2019. Co-published by UKS, Oslo; Lulu, Mexico City; Mousse Publishing, Milan. Designed by Wkshps (Prem Krishnamurthy & Judith Gärtner). - Edited by Rhea Dall, Prem Krishnamurthy, Chris Sharp, with managing editor Sarah DemeuseTexts by 1857, Oslo (Steffen Håndlykken & Stian Eide Kluge); ASAKUSA, Tokyo (Koichiro Osaka); castillo/corrales—Paraguay, Paris (Thomas Boutoux); Kunsthalle Lissabon, Lisbon (Luís Silva & João Mourão), Kunstverein, Amsterdam (Yana Foqué & Maxine Kopsa), Louise Dany, Oslo (Ina Hagen & Daisuke Kosugi); Lulu, Mexico City (Chris Sharp); New Theater, Berlin (Calla Henkel & Max Pitegoff); P!, New York/Berlin (Prem Krishnamurthy); Pivô, São Paulo (Fernanda Brenner); PRAXES Center for Contemporary Art, Berlin (Rhea Dall & Kristine Siegel); RAW Material Company, Dakar (RAW Team); Signal – Center for Contemporary Art, Malmö (Elena Tzotzi); Sørfinnset skole/ the nord land, Gildeskål (Geir Tore Holm & Søssa Jørgensen); The Artist’s Institute, New York (Anthony Huberman, Jenny Jaskey); Introductory Roundtable (Rhea Dall, Prem Krishnamurthy, and Chris Sharp); Conversation with Chris Kraus by Rhea Dall; Essay by Christine Tohme

kunst --- 7.039 --- institutional critique --- institutionele kritiek --- 7.01 --- receptie-esthetica --- kunsttheorie --- 069 --- tentoonstelllingen --- museologie --- eenentwintigste eeuw

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Through the use of various media, Annaïk Lou Pitteloud, who grew up in Lausanne and now lives in Brussels, directs the viewer’s gaze, the observer, to invisible elements that belong to the construction of the image, to institutional space or to the actual creative activity. Simple and direct, Pitteloud’s works pose critical questions about social problems and reveal the sometimes frozen mechanisms of the art world and the codes of perception, mediation and presentation of art.With the modular work documentation “Folder”, Annaïk Lou Pitteloud presents for the first time a comprehensive publication on her artistic work to date. The publication is preceded by the two sub-publications “Folder” and “Dossier”. As catalogues for the solo exhibitions at the Kunstmuseum St. Gallen and the Musée cantonal des Beaux-Arts in Lausanne, they contain different compilations of the artist’s works that are related to the respective exhibitions and thus illustrate the basic idea of the present modular documentation of works. Files on all the artist’s works are created according to a strict grid. Separated by type of content, titles, descriptions of works, notes, documentary images and texts are compiled. Reproductions of drawings and reprints of printed matter used in the exhibitions complete the collection.This archive forms the basis for the monographic publications, in that a suitable selection of works can be compiled and published according to the occasion of the publication. The individual sheets, which are held together by pad binding, have three punched holes and suggest that the contents can also later be disassembled, rearranged or supplemented and filed in a folder. Authors: Maziar Afrassiabi, Madeleine Amsler, Pavel Büchler, Barnaby Drabble, Bethan Huws, Marie-Eve Knoerle, Federica Martini, Hans Rudolf Reust, Nicole Schweizer, Steve Van den Bosch, Nadia Veronese. Designers: Arve Båtevik, Georg Rutishauser

Art --- art [fine art] --- Conceptual --- Pitteloud, Annaïk Lou --- Installations (Art) --- kunst --- museologie --- musea --- archivering --- archieven --- institutional critique --- institutionele kritiek --- 7.071 PITTELOUD --- eenentwintigste eeuw --- Pitteloud Annaïk Lou --- Zwitserland --- installaties --- Installation art --- Art, Modern --- Environment (Art) --- Pitteloud, Annaïk Lou, --- art [discipline] --- social criticism

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We live in a moment in which institutions, including those central to the art world, are facing a surge of public scrutiny. Propelled by social media, profound questions about how institutions operate - whether structurally, politically, or financially - have become an increasingly prominent part of public life and discourse in recent years. In this context, The Art of Critique revisits the artistic practice of institutional critique to ask what it means today, and to consider its ability to respond to the urgent social, political, and economic issues of our time. Taking works by Tracey Emin, Andrea Fraser, and Sarah Lucas in the collection of the Frans Hals Museum as a departure point, The Art of Critique uses a feminist approach to broaden and challenge traditional art historical definitions of institutional critique. These expanded forms of critique function as precursors to the practices of the contemporary artists presented as part of this project. Collectively, the contemporary works shed a new light on the legacy of institutional critique while addressing structural issues as wide-ranging as labor practices in the creative industry, city development, gender inequality, and the intertwined histories of capitalism and colonialism.

Art, Modern --- Artists --- kunstinstellingen --- musea --- kunsttheorie --- 7.039 --- 7.01 --- feminisme --- kunst --- conceptuele kunst --- kunst en maatschappij --- institutionele kritiek --- videokunst --- kunst en politiek --- twintigste eeuw --- eenentwintigste eeuw --- schilderkunst --- tekenkunst --- performances --- Angeletti Marie --- Buhlungu Simnikiwe --- Fujiwara Simon --- Lollia Hilaire Clémence --- Van Lieshout Erik --- Lloyd Corporation --- Mul Marlie --- Becket WMN --- Nogle D'Ette --- Okon Ima-Abasi --- Olayemi Ilupeju Monilola --- Schlingelhoff Bea --- Uribe Juan --- Öğüt Ahmet --- Frans Halsmuseum --- Frans Hals Museum --- Frans Hals Municipal Picture Gallery, Haarlem --- Frans Hals-Museum der Gemeente Haarlem --- Haarlem. --- Musée de la ville de Harlem --- Musée communal de Haarlem --- Art --- museology --- colonization --- social stratification --- capitalism --- feminism --- museums [buildings] --- art criticism --- dekolonisatie --- futurologie --- gender

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"This groundbreaking exploration of appropriation and institutional critique assembles a wide variety of artists and mediums to offer new insight and make unprecedented connections. Exploring two parallel strands of post-conceptual art, Take It or Leave It highlights artists known for their use of appropriation and those who engage in "institutional critique." Focusing on American artists who emerged from the late 1970s to the early 1990s, the book highlights dynamic practices in a variety of media: from performance to photography; video to installation; painting to writing. Artists as wide-ranging in approach as Dara Birnbaum, Mark Dion, Robert Gober, Barbara Kruger, Zoe Leonard, Glenn Ligon, Adrian Piper, Stephen Prina, and Fred Wilson are examined within the context of the larger culture--from the political landscape to design strategies in advertising. Essays by curators Anne Ellegood and Johanna Burton as well as scholars George Baker, Julia Bryan-Wilson, Gavin Butt, and Darby English explore the historical and current terrain of appropriation and institutional critique, while pursuing topics including the downtown music scene in New York in the '80s, new strategies of painting, and theories of race after identity politics' heyday"--

Art --- video recordings --- installations [visual works] --- drawing [image-making] --- painting [image-making] --- photography [process] --- property [legal concept] --- mass media --- performance art --- art criticism --- Leonard, Zoe --- Barry, Judith --- Bender, Gretchen --- Burr, Tom --- Gonzales-Torres, Felix --- Kolbowski, Silvia --- Leavitt, William --- Steinbach, Haim --- McCarthy, Paul --- Kelley, Mike --- Durham, Jimmie --- Holzer, Jenny --- Kelly, Mary --- Birnbaum, Dara --- Dion, Mark --- Fraser, Andrea --- Green, Renée --- Kruger, Barbara --- Levine, Sherrie --- McCollum, Allan --- Mullican, Matt --- Noland, Cady --- Tiravanija, Rirkrit --- Gober, Robert --- Rosler, Martha --- Blake, Nayland --- Ligon, Glenn --- Miller, John --- Prina, Stephen --- Williams, Sue --- Wilson, Fred --- Wojnarowicz, David --- Piper, Adrian --- Williams, Christopher --- Appropriation (Art) --- Art, American --- Institutional Critique (Art movement) --- 7.038/039 --- Alves Maria Thereza --- appropriation art --- Barry Judith --- Bender Gretchen --- Birnbaum Dara --- Blake Nayland --- Burr Tom --- concept art --- conceptuele kunst --- Dion Mark --- Durham Jimmie --- eenentwintigste eeuw --- fotografie --- Fraser Andrea --- Gober Robert --- Gonzalez-Torres Felix --- Green Renée --- Holzer Jenny --- installaties --- institutionele kritiek --- Kelley Mike --- Kelly Mary --- Kolbowski Silvia --- Kruger Barbara --- kunst --- kunst en politiek --- Lawler Louise --- Leavitt William --- Leonard Zoe --- Levine Sherrie --- Ligon Glenn --- McCarthy Paul --- McCollum Allan --- Miller John --- Mullican Matt --- Noland Cady --- performances --- Piper Adrian --- Prina Stephen --- Rosler Martha --- schilderkunst --- Simon Jason --- Steinbach Haim --- tekenkunst --- Tiravanija Rirkrit --- twintigste eeuw --- Verenigde Staten --- video --- videokunst --- Williams Christopher --- Williams Sue --- Wilson Fred --- Wojnarowicz David --- Art, Modern --- Appropriated imagery --- Appropriated images --- Appropriationism (Art) --- Postmodernism --- Imitation in art --- Exhibitions --- video recordings [physical artifacts]