Institutional Critique (Art movement)
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- Work cat.: Institutional Critique and after, c2006:p. 15 (pioneers of Institutional Critique include Broodthaers, Haacke, Buren, Asher, John Knight; central assumption of Institutional Critique, that all artists and art institutions are implicated in what Haacke calls the "socio-political value-system") p. 16 (axiom at the heart of Institutional Criticism movement--that art can effect change through a critical address to socio-cultural issues)
- Conceptual art and the politics of publicity, 2003:p. 127 (institutional critique, art practice that would seek to show the intersections where not only political and economic but also ideological and state, cultural and corporate, interests meet)
- New musuem theory and practice, 2005:p. 269 (by the late 1980s, institutional critique had become a significant trend in postmodern artistic practice)
- Wikipedia, May 27, 2007(Institutional Critique is an art term that describes the systematic inquiry into the workings of art institutions, for instance galleries and museums, and is most associated with the work of artists such as Marcel Broodthaers and Hans Haacke; in more technical terms, Institutional Critique is an artistic term meant as a commentary of the various institutions and assumed normalities of art and/or a radical disarticulation of the institution of art; categories cited: Art movements; Contemporary art; Postmodern art; Institutional Critique artists)
- The rise of the Sixties : European and American art in the era of dissent, 2004:p. 176 (painting and the idea of an autonomous art object were no longer credible, for some European artists the container (i.e., museum, art gallery) was powerfully determining; a crucial figure in this tendency, later labelled as "institutional critique", was Marcel Broodthaers)
In art, institutional critique is the systematic inquiry into the workings of art institutions, such as galleries and museums, and is most associated with the work of artists like Michael Asher, Marcel Broodthaers, Daniel Buren, Andrea Fraser, John Knight, Adrian Piper, Fred Wilson, and Hans Haacke and the scholarship of Alexander Alberro, Benjamin H. D. Buchloh, Birgit Pelzer, and Anne Rorimer. Institutional critique takes the form of temporary or nontransferable approaches to painting and sculpture, architectural alterations and interventions, and performative gestures and language intended to disrupt the otherwise transparent operations of galleries and museums and the professionals who administer them. Examples would be Niele Toroni making imprints of a No. 50 brush at 30 cm (12 in) intervals directly onto gallery walls as opposed to applying the same mark to paper or canvas; Chris Burden's Exposing the Foundation of the Museum (1986), in which he made an excavation in a gallery of the Museum of Contemporary Art, Los Angeles, to expose the literal concrete foundation of the building;, Andrea Fraser inhabiting the persona of an archetypical museum docent in the form of a live performance or video document, or art group monochrom who sent the fictitious artist Georg Paul Thomann to the São Paulo Art Biennial. Assumptions about the aesthetic autonomy of painting and sculpture, the neutral context of the white cube gallery, and the objective delivery of information are explored as subjects of art, mapped out as discursive formations, and (re)framed within the context of the museum itself. As such, institutional critique seeks to make visible the social, political, economic, and historical underpinnings of art. Institutional critique questions the false distinction between taste and disinterested aesthetic judgement, revealing that taste is an institutionally cultivated sensibility that differs depending on the intersection of any one person's class, ethnic, sexual, or gender subject positions.
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