institution

We call on all cultural workers to put down their tools and cease to make, distribute, sell, exhibit, or discuss their work from Janury 1st 1990 to January 1st 1993. We call for all galleries, museums, agencies, ‘alternative’ spaces, periodicals, theatres, art schools &c., to cease all operations for the same period.
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Neoism, Plagiarism & Praxis (1995), by Stewart Home

copy, critique, curating, institution, metaworks, originality, politics, reproduction, theory
Monday, April 22nd, 2013

More Michael Paintings (2011), by Reena Spaulings

body, collection, critique, imagery, institution, network, painting, post-medium
Friday, April 5th, 2013

Art is a history of doing nothing and a long tail of useful action. It is always a fetishisation of decision and indecision – with each mark, structure and engagement.
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Why work? (2010), by Liam Gillick

artist subject, institution, metaworks, nothing, question, theory, work, work of art
Saturday, March 23rd, 2013

Of all the frames, envelopes, and limits-usually not perceived and certainly never questioned-which enclose and constitute the work of art (picture frame, niche, pedestal, palace, church, gallery, museum, art history, economics, power, etc.), there is one rarely even mentioned today that remains of primary importance: the artist’s studio.
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The Function of the Studio (1971), by Daniel Buren

artist subject, institution, metaworks, studio, theory, work of art
Saturday, March 23rd, 2013

As the art world careens this way and that, and its many institutions, markets, and audiences adapt and adjust, supporting it all is the generative activity of studio practice. The studio is a space and a condition wherein creative play and progressive thinking yield propositions for reflecting on who we are—individually and collectively—and where we might go next.
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The Studio Reader. On the Space of Artists (2010), by Mary Jane Jacob and Michelle Grabner (eds.)

artist subject, institution, metaworks, studio, theory, work of art
Saturday, March 23rd, 2013

The significane for art of the year 2008 is not limited to the market crash in October, but includes the founding of the blog Contemporary Art Daily in November, and the concurrent mushrooming of social media. Although the first and the last development have been much discussed (albeit rarely in tandem), all three have produced effects which are deeply interrelated.
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Contemporary Art, Daily (2011), by Michael Sanchez

economics, institution, internet, metaworks, photography, politics, post-internet, social media, theory
Wednesday, March 20th, 2013

I used to really hate art object and the buildings that housed them. This was because I thought they werde unnecessarily exclusive, that only certain people could interact with them in certain places at certain times. To a degree, I still belive this.
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Peer Pressure (2011), by Brad Troemel

institution, interaction, internet, metaworks, network, peers, post-internet, theory
Wednesday, March 20th, 2013

Limitation (Salzburger Kunstverein) (2012), by Ulrich Nausner

authorship, black/white, context, contract, imagery, institution, limitation, text/image
Saturday, March 16th, 2013

Räumliche Sequenz (2012/2013), by Florian Pumhösl

abstraction, drawing, imagery, institution, iteration, space
Tuesday, February 5th, 2013

What distinguishes the emergent New Institutionalism in the late 1990s from the historical premise of institutional critique is the convergence of three key factors: firstly, relational and/or socially-engaged practices emerge as dominant strands of mainstream contemporary visual art through theoretical discourse and social networks; secondly, cultural experience becomes recognised as a primary component of urban regeneration and the consequent influx of considerable funds for newly built spaces for contemporary art leads to a reconsideration of the role of museums and galleries.
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New Institutionalism (2007), by Claire Doherty

critique, curating, discourse, institution, metaworks, theory
Monday, July 2nd, 2012

In ideal terms, subjects visiting traditional exhibitions (with hanging paintings) to a certain extent train attributes that benefit the (inconspicuous) controlled, judgmental, responsible citizen. Visitors who are confronted by a confusing, compelling media exhibition, experience fragmentation, atomisation, hallucinatory excess, and an incomplete narration experience – an interpellation that positions them as overwhelmed and fragmented. When visiting projects committed to the educational turn, we are addressed as subjects able to participate in some way or another. We educate ourselves and engage in discussion, communicate amongst ourselves, and enter into contact and networks.
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Institution as Medium. Curating as Institutional Critique – Part II (2012), by Dorothee Richter and Rein Wolfs (eds.)

critique, curating, exhibition, institution, meaning, metaworks
Monday, July 2nd, 2012

So if we view exhibitions and art projects as an institutional apparatus making it possible to convey certain meanings and new perspectives to a larger public sphere, then what is important is how new publics are addressed, how knowledge circulates, and which social spaces and therefore institutions can be created and addressed. Thus criticism may have only just begun through the medium of the institution art, which is why we have to take the issue of the messages of exhibitions seriously.
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Institution as Medium. Curating as Institutional Critique – Part I (2011), by Dorothee Richter and Rein Wolfs (eds.)

critique, curating, exhibition, institution, meaning, metaworks, theory
Monday, July 2nd, 2012