Artangel and financing British art : adapting to social and economic change
著者
書誌事項
Artangel and financing British art : adapting to social and economic change
(British art : histories and interpretations since 1700 / series editors, David Peters Corbett, Sarah Monks)
Routledge, 2019
- : hbk
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references and index
内容説明・目次
内容説明
The Artangel Trust has been credited with providing artists with all the money and logistics they need to create one-off dream projects. An independent art commissioning agency based in London, it has operated since 1985 and is responsible for producing some of the most striking ephemeral and site-specific artworks of the last decades, from Rachel Whiteread's House to Jeremy Deller's The Battle of Orgreave. Artangel's existence spans three decades, which now form a coherent whole in terms of both art historical and political periodisation. It was launched as a reaction to the cuts in funding for the visual arts introduced by the Thatcher government in 1979 and has since adapted in a distinctive way to changing cultural policies. Its mixed economic model, the recourse to public, private and corporate funds, is the result of the more general hybridisation of funding encouraged by successive governments since the 1980s and offers a contemporary case study on broader questions concerning the specificities of British art patronage. This book aims to demonstrate that the singular way its directors have responded to the vagaries of public funding and harnessed new national attitudes to philanthropy has created a sustainable independent model, but also that it has been reflected more formally, in their approach to site. The locational art produced by the agency has indeed mirrored new distinctions between public and private spaces, it has reflected the social and economic changes the country has gone through and accompanied the new cultural geographies shaping London and the United Kingdom. Looking into whether their funding model might have had a formal incidence on the art they helped produce and on its relation to notions of publicness and privacy, the study of Artangel gives a fresh insight into new trends in British site-specific art.
目次
Introduction 1. Post-Consensus Cultural Policies and the Hybridisation of Funding: A British Model 2. Artangel, Producing Art in the Post-Consensus Age 3. The Public Art of Artangel 4. Dissemination, the New Sites of Art Conclusion
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