- History of Art
ART IN THE NEW DEMOCRATIC PARADIGM: AUTONOMY, TECHNIQUE, PARTICIPATION
The artwork, from a product of individual creativity, has in recent years largely adopted forms which incorporate consumption into production as its foundational premise: the audience no longer stands as its passive consumer but becomes an indispensable part of meaning production, activating the work and conferring upon it the status of art. The rise of internet or new media art, ‘relational aesthetics’, and the work of art collectives with communities serve as characteristic examples of this tendency. My project explores the particular significance of such participatory tendencies in contemporary art and their correspondence to the socio-economic, technical and cultural conditions of our era. The discussion investigates how certain socioeconomic transformations that take shape during the second half of the 20th century are registered in art production and on the inevitable questions this points to: how does the levelling of artist and audience relate to the social expansion of creativity in our era? How does participatory art reflect the changes unfolding in our experience of community after its reconfiguration in a globalized setting? Does networked creativity signify the identification of the “artworld” with the possibilities inherent in the technological unification of the contemporary world or could that trend be regarded as an attempt to humanise experience in conditions of information overload?
- Adam Smith Senior Bursary 2014/2015
- College of Art Postgraduate Scholarship 2015-2018