206:, 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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One of the criticisms of institutional critique is that it requires from its audience a familiarity with its esoteric concerns. As with much contemporary music and dance, the institutional critique of art is a practice that only specialists in the field—artists, theorists, historians, and critics—are
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in the 1970s and its upending of long-held notions of authorship, originality, artistic production, popular culture, and identity. Institutional critique is often site-specific and is contemporaneous with the advent of artists who eschewed gallery and museum contexts altogether to build monumental
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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
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as an excellent example of new and needed forms of intervention: " shows an area of conflict between inclusion and exclusion, and one has to recognize that institutional critique is constantly changing and cannot know any fixed rules. Contextualization and site specificity have become key terms.
418:, saw galleries and museums as sites of social interaction and the spontaneous creation of works of art characterized by their contingent temporality. The collegial atmosphere of these open-ended situations was quite distinct from the more confrontational strategies of Buren, Haacke,
477:(in Artforum) and critic Michael Kimmelman (in The New York Times) have argued, for example, that institutional critique artists work within—and benefit from—the very same institutions they ostensibly critique.
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Depending on the situation, it proceeds very differently and also wants very different things. Moreover, the change from criticism to affirmation is always possible and hardly predictable."
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186:(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;,
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privy to. Due to its sophisticated understanding of modern art and society—and as part of a privileged discourse—art as institutional critique can often leave
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making imprints of a No. 50 brush at 30 cm intervals directly onto gallery walls as opposed to applying the same mark to paper or canvas; Chris Burden's
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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
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http://www.marginalutility.org/wp-content/uploads/2010/07/Andrea-Fraser_From-the-Critique-of-Institutions-to-an-Institution-of-Critique.pdf
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inhabiting the persona of an archetypical museum docent in the form of a live performance or video document, or art group
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and its concerns with language, processes, and administrative society; and the critique of authorship that begins with
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http://www.marginalutility.org/wp-content/uploads/2010/07/Claire-Bishop_Antagonism-and-Relational-Aesthetics.pdf
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addresses some of the inherent problems of institutional critique. He specifically refers to monochrom's
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and its concerns with the phenomenology of the viewer; formalist art criticism and art history (e.g.
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Conceptual Art 1962–1969: From the
Aesthetics of Administration to the Critique of Institutions,"
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engaged the institution of art in a convivial manner. These artists, gathered under the rubric of
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Institutional critique is a practice that emerged from the developments of
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628:"Traffic Control: Joe Scanlan on Social Space and Relational Aesthetics"
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Artists associated with institutional critique since the 1960s include
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Another criticism of the concept is that it can be a misnomer. Artist
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In the early 1990s, influenced in large part by Daniel Buren,
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https://www.um.es/vmca/proceedings/docs/35.Inma-Alvarez.pdf
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In his 2015 book "Der wunde Punkt", curator and art critic
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681:"Why do we hate modern classical music? | Alex Ross"
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Institutional
Critique: An Anthology of Artists' Writings
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and tools are available to assist in formatting, such as
575:"Three Histories: The Wadsworth According to MATRIX 114"
238:in the late 1960s and continues with the advent of
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779:What Happened to the Institutional Critique?
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533:"1965-1975: Reconsidering the Object of Art"
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394:, a loose affiliation of artists including
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589:"Publishing House - Contemporary Artists"
327:. Artists active since the 1980s include
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561:"Exposing the Foundation of the Museum"
470:viewers alienated and/or marginalized.
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178:administer them. Examples would be
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158:and the scholarship of
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273:critical race theory
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