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AP1: research - types of practitioners

Author - being at centre of work and production of work – or sharing production with experts (this does not share the authorship) – can be individuals – can have collaborative authorship. – can still identify individual voices. History of art prioritises the individual authorial voice.

e.g., Damien Hirst, has group of workers creating his artwork

Jeff Koons – atelier system

Collective – more than two people perhaps – group of people doing different tasks.

BANK – John Russel – collective – collab with other practitioners. – who contributed what?

Challenged arts marketplace and the institution

Art & Language – collective – founded in 1968 – Coventry University staff – idea of conceptualism. Members – Charles Harrison, Michael Baldwin

Work led by ideas and concept – making work that talked about art

Collaborator – finding common interests with other practitioners – working together – critiquing arts practices.

The Third Hand, Collaboration in Art from Conceptualism to Post-Modernism, Charles Green.

- What you produced together is something impossible to produce on your own. As result of two people coming together- merging ideas – creating something new.

Relational aesthetics – working with participants – socially engaged work?

Term created by curator Nicolas Bourriaud in the 1990s to describe the tendency to make art based on, or inspired by, human relations and their social context – relationship between artwork and participants – evolving in production – inclusion of others as element or component in artwork –

Rirkrit Tiravanija – makes food for people, explore own cultural identity

creating a situation and space into which others are brought in order to participate in production of artwork. Nonentity without participants. Participation is vital to liveness of work – people as material. Not just observing but actively being involved in production

This is not a pipe, René Magritte – conceptual work

questions the authenticity of the image - question viewers understanding of object and language

Joseph Kosuth - Idea of how information is communicated – contemplate product of art

Found thing, document of thing. Art & Language worked closely with Kosuth.

Multiple ways of working.


Michel Foucault, What is an Author?

Unit of author and work – how the author becomes individualised

Creating a space into which the writing subject constantly disappears.

The privileges of the author – how an author can have a biased opinion – or different world view to another author.

Author playing role as regulator of the fictive …. – reflective of bourgeois society – idea od individualism –

As society changes the role of the author also changes and adapts.

What difference does it make who is speaking? – does an author change the meaning of the work – do they have an active role in the text or are they just a facilitator of the text. Are they simply there to relay information or present concepts – or do they have a more active role – say a personal voice or own way of thinking that can change the meaning of the text?

Stylistic unity – the author exists as historical figure. Challenging to remove author from work. Author of the work is inherently visible due to use of grammar – can be related to an artists particular use of mark making – how to relate mark back to hand and psyche of the author

Transcendental Invisibility of author – only an author as far as you effect culture

Author being subject of punishment – authorship being a form of property – works become possessions – e.g., copyright attached to them. Is author was transgressing rules

What does it mean to be an author – where is the boundaries of the work? Is the work just the materials realisation or is it something happening outside of the object?


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