http://www.nolayout.com/asher-penn/institutional-critique/
This is a link to an online presentation of a 'Zine called Intitutional Critique, published by Asher Penn, 2007.
Made me think about some of the methods of exhibition I have come across in recent years - such as the brilliant and professionally produced Printed Project ( http://visualartists.ie/publications/printed-project/ ) and Edinburgh's Bareface Magazine ( http://www.barefacemagazine.com/ ) which begun as a bespoke, homegrown 'zine and now embraces online publication.
Both examples respond to a decided theme and combine an open call for submission with sensitive curatorial construction. Printed Project in particular seems to take advantage of the medium by producing printed exhibitions that would perhaps not work in any other circumstances. Does this mean to say that good exhibitions and good art may sometimes only be produced outside of an institution? How 'outside' is this method (institution)? How effective are the more grass-roots 'zines which are closer to being outwith the defined institution of the artworld: I recently produced a work for Bareface Magazine and since publication I have only hoped that the work of myself and the other artists involved would be engaged with. Perhaps this is a hope based on assumptions and criteria designed by my own engagement with the established institution of the artworld.
Comments are welcome on this topic, as well as responses to the 'Zine linked above.
This is a link to an online presentation of a 'Zine called Intitutional Critique, published by Asher Penn, 2007.
Made me think about some of the methods of exhibition I have come across in recent years - such as the brilliant and professionally produced Printed Project ( http://visualartists.ie/publications/printed-project/ ) and Edinburgh's Bareface Magazine ( http://www.barefacemagazine.com/ ) which begun as a bespoke, homegrown 'zine and now embraces online publication.
Both examples respond to a decided theme and combine an open call for submission with sensitive curatorial construction. Printed Project in particular seems to take advantage of the medium by producing printed exhibitions that would perhaps not work in any other circumstances. Does this mean to say that good exhibitions and good art may sometimes only be produced outside of an institution? How 'outside' is this method (institution)? How effective are the more grass-roots 'zines which are closer to being outwith the defined institution of the artworld: I recently produced a work for Bareface Magazine and since publication I have only hoped that the work of myself and the other artists involved would be engaged with. Perhaps this is a hope based on assumptions and criteria designed by my own engagement with the established institution of the artworld.
Comments are welcome on this topic, as well as responses to the 'Zine linked above.