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The current model of an artist could be called "exhibition artist"(in German "Ausstellungskünstler") - a term coined by the Swiss art historian Oskar Broetschmann<ref name="broetschmann">Broetschman, O 1999, Ausstellungskünstler: Kult und Karriere im modernen Kunstsystem, DuMont, Köln. </ref>. The exhibition artist does not - like his predecessor the court artist - rely on commissions by his king, a lord or an aristocrat. As a distributor for this "free" artist comes the gallery market into the play and to say it in the language of the free market functions mostly as his and sometimes as her point of sale. Galleries in this case work as an agent for the artist by providing exhibitionspace and managing the costumer relation. The ideal customer is of course a ambitious collector interested in the artists aesthetic and supporting with his investment identity of society with the foresight of the curators, the jugement of critics, the acceptance of the audience and contextualization by art historians. | The current model of an artist could be called "exhibition artist"(in German "Ausstellungskünstler") - a term coined by the Swiss art historian Oskar Broetschmann<ref name="broetschmann">Broetschman, O 1999, Ausstellungskünstler: Kult und Karriere im modernen Kunstsystem, DuMont, Köln. </ref>. The exhibition artist does not - like his predecessor the court artist - rely on commissions by his king, a lord or an aristocrat. As a distributor for this "free" artist comes the gallery market into the play and to say it in the language of the free market functions mostly as his and sometimes as her point of sale. Galleries in this case work as an agent for the artist by providing exhibitionspace and managing the costumer relation. The ideal customer is of course a ambitious collector interested in the artists aesthetic and supporting with his investment identity of society with the foresight of the curators, the jugement of critics, the acceptance of the audience and contextualization by art historians. | ||
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Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. | Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. | ||
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Revision as of 19:48, 2 November 2014
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The following text implies some mistakes evoked by my dyslexia and writing skills! A correction follows soon.
Proposal
Introduction
In the last years, online platforms for the distribution, sharing and production of digital art opened there doors for a public at large and picture them self as a "revolutionary new way to collect, share and trade art"[1], claiming to "push the possibilities of creativity" [2] or to "place the artist’s work in a broader global visual context free from the hegemonic monetary system" [3]. However, following my interest in art and the artsystem I will focus for my gradution project on this recent developments and impacts of those platforms on art. The most relevant question that will follow my research are how to show the underlining structure and mechanism of such platforms and through that answer how it will affect the conditions of an artwork.
Distribution and Destruction
The current model of an artist could be called "exhibition artist"(in German "Ausstellungskünstler") - a term coined by the Swiss art historian Oskar Broetschmann[4]. The exhibition artist does not - like his predecessor the court artist - rely on commissions by his king, a lord or an aristocrat. As a distributor for this "free" artist comes the gallery market into the play and to say it in the language of the free market functions mostly as his and sometimes as her point of sale. Galleries in this case work as an agent for the artist by providing exhibitionspace and managing the costumer relation. The ideal customer is of course a ambitious collector interested in the artists aesthetic and supporting with his investment identity of society with the foresight of the curators, the jugement of critics, the acceptance of the audience and contextualization by art historians.
Outcome
Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.
References
-
<references>
- ↑ http://www.seditionart.com/
- ↑ https://devart.withgoogle.com/
- ↑ https://cointemporary.com/about/
- ↑ Broetschman, O 1999, Ausstellungskünstler: Kult und Karriere im modernen Kunstsystem, DuMont, Köln.