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Written with beautiful clarity, Art in Consumer Culture: Mis-Design
asks the contemporary art world to be honest about the pervasive
effects of commodification and the difficulty of staging critique.
The book examines the collusion of 'art' and 'design' in
contemporary artistic practices in order to find avenues of
critique in a commercially driven cultural landscape. Grace
McQuilten focuses on the work of Takashi Murakami, Andrea Zittel,
Adam Kalkin and Vito Acconci, four contemporary artists who claim
to be working in the field of design rather than the traditional
art world. McQuilten argues that Zittel, Acconci and Kalkin engage
with 'design' only to reactivate the critical practice of art in a
more direct engagement with capital - and conceives of and affirms
a future for art, outside of the art world, as a parasite in the
complex beast of late capitalism. This book is an important and
timely provocation to a cynical and apathetic consumer culture, and
a call to arms for creative freedom and critical thought.
This book analyses the challenges and opportunities faced by
art-based social enterprises (ASEs) engaging young creatives in
education and training and supporting their pathways to the
creative industries. In doing so, it addresses the complex
intersecting issues of marginality and entrepreneurship,
particularly in relation to young creatives from socially,
economically and culturally diverse backgrounds. Drawing on
extensive fieldwork and interviews with twelve key organisations,
and three in-depth case studies in Australia, the book offers a
detailed analysis of using enterprise to engage with the structural
challenges of marginality. The book explores the local and global
contexts through which art-based social enterprises (ASEs) operate
and within which they attempt - often successfully - to improve
access to education and work for emerging creatives. It also
attends to the findings generated through engaging with the lived
experiences of the staff and young creatives involved in our ASE
case studies, in order to understand both the challenges and
impacts of the ASE model on young people's education, training, and
employment pathways. The book focuses on three broad themes;
precarious youth and digital futures, material practice and
sustainable economies, and cultural citizenship in the urban
fringe. In exploring these themes, the book contributes to debates
about the limits, possibilities and challenges that attach to, and
emerge from, an ASE model and highlights the ways in which these
models can contribute to young people's well-being, engagement,
education and training, and work pathways. More broadly, it
examines the possibilities of art as a means of social and cultural
engagement. In the context of the precarious future of the creative
industries, this book emphasise the ways in which young artists are
building alternative economic and cultural models that support both
individual pathways and collective change. This book will move the
field forward with a critical lens that engages closely with
experience and the lived realities of juggling multiple priorities
of social, economic and artistic goals.
Written with beautiful clarity, Art in Consumer Culture: Mis-Design
asks the contemporary art world to be honest about the pervasive
effects of commodification and the difficulty of staging critique.
The book examines the collusion of 'art' and 'design' in
contemporary artistic practices in order to find avenues of
critique in a commercially driven cultural landscape. Grace
McQuilten focuses on the work of Takashi Murakami, Andrea Zittel,
Adam Kalkin and Vito Acconci, four contemporary artists who claim
to be working in the field of design rather than the traditional
art world. McQuilten argues that Zittel, Acconci and Kalkin engage
with 'design' only to reactivate the critical practice of art in a
more direct engagement with capital - and conceives of and affirms
a future for art, outside of the art world, as a parasite in the
complex beast of late capitalism. This book is an important and
timely provocation to a cynical and apathetic consumer culture, and
a call to arms for creative freedom and critical thought.
Contemporary art has a complex relationship to crisis. On the one
hand, art can draw us toward apocalypse: it charts unfolding chaos,
reflects and amplifies the effects of crisis, shows us the
dystopian in both our daily life and in our imagined futures. On
the other hand, art's complexity helps fathom the uncertainty of
the world, question and challenge the order of things, and allows
us to imagine new ways of living and being - to make new worlds.
This collection of written and visual essays includes artistic
responses to various crises - including the climate emergency,
global and local inequalities and the COVID-19 pandemic - and
suggests new forms of collectivity and collaboration within
artistic practice. It surveys a wide variety of practices, oriented
from the perspective of Australia, New Zealand and Asia. Art making
has always responded to the world; the essays in this collection
explore how artists are adapting to a world in crisis. The
contributions to this book are arranged in four sections: artistic
responses; critical reflections, new curatorial approaches and the
art school reimagined. Alongside the written chapters, three
photographic essays provide specific examples of new visual forms
in artistic practice under crisis conditions. The primary market
for the book will be scholars and upper-level students of art and
curating at both undergraduate and postgraduate level.
Specifically, the book will appeal to the burgeoning field of study
around socially engaged art. Beyond the academic and student
market, it will appeal to practicing artists and curators,
especially those engaged in social practice and community-based
art.
Art is produced, circulated, consumed and disseminated within an
economic system - it depends on money for its creation, for the
livelihood of its makers, and for its distribution. In this sense,
art can be understood as an enterprising activity. However,
profit-making is rarely the primary goal of artists, and indeed the
entanglement of art with enterprise generates significant
aesthetic, conceptual, philosophical and ethical challenges for
contemporary art practice. Social enterprise has emerged from this
complex terrain with the promise of an alternative model of
economic organisation in the arts. Grace McQuilten and Anthony
White argue that artists can, and have, engaged critically in the
commercial market, by way of this model. Art as Enterprise brings a
fresh perspective to the debate about the roles of contemporary art
in consumer capitalist society.
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