View source for Jelena vesic-administration of aesthetics

'''Jelena Vesić: Administration of Aesthetics or On Undercurrents of Negotiating Artistic Jobs – Between Love and Money, Between Money and Love ...'''

Arthur C. Danto, The Transfiguration of the Commonplace (an artwork becomes an artwork only through the institutional art context/art world vs. real world; good example: Warhol's Brillo boxes:

* profane mass product vs. sacral art work
* production vs. creation
* mass production vs. authorship & originality

[Concept] art becomes an ideology: Gordan Djordevic, Serbian anti-artist from the 1970s)

Profane money vs. upper class valorization of creativity, aesthetics, spirit (business model of Freeze art fair)

-> low art vs. high art

Winckelmann, 18th century, idealist notion of art 
* commercial art vs. free art
* Dutch golden age art vs. classical Greek art
* money, corruption of taste vs. good taste
Distinction introduced by art academies
* Joshua Reynolds, British painter, co-founder of the Royal Academy of Art, London (after the model of the French Royal Academy of painting)
* separation of decoration/crafts from art
* focus on authorship and originality to draw the line between high art and low craft

Both result in ideology of art:
* ideology of art as free labor, not wage labor
* romanticism of art as non-material labor
* class struggle in art (between low art and high art)
 
Today: two modern inventions
# cultural industries;
# project-based art practice
have replaced previous models of production;

replaces old arrangement of
# high art; subsidized or commissioned (aristocratic in origin, taken over by the state)
# commercial art; art production for individual taste (collector's market)
# critical art: refusal of (a) and (b)

Project-based art: 

abolishes traditional distinctions between artist, critic, curator etc.
new apparatuses come into power

"tag cloud mentality […] shaped by the matrix of language"

Benjamin Buchloh (art critic of the journal "October"): notion of aesthetic administration = subversive appropriation of institutional modes of operation in conceptual art of 1960s and 1970s, also known as "institutional critique"

new forms of negotiations between the actors (in the project-based art field);

workers at the bottom: self-organized independent artists, curators, writers etc. - hired as freelancers/project workers by cultural institutions

informal, paralegal conversations and negotiations (in project-based art): real legal contractual agreement between actors is absent

hierarchy:
those who invite;
those who get invited.

non-serious classification of negotiations:
# gentlemanic promenade talks
Silences business relations and social issues in the negotiation; money is not talked about.
Work described in the language of play, love affair vs. banality of money and capitalism. 
Invited person has a privileged status of being economically independent / backed by institution / regular job.