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Filling in the gaps
Includes bibliographical references (p. 120-126).
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| Main Author: | |
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| Other Authors: | |
| Format: | Thesis |
| Language: | English |
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Michaelis School of Fine Art
2014
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| _version_ | 1867614150562152448 |
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| access_status_str | Open Access |
| author | Sacks, Ruth |
| author2 | Alexander, Jane |
| author_browse | Alexander, Jane Sacks, Ruth |
| author_facet | Alexander, Jane Sacks, Ruth |
| author_sort | Sacks, Ruth |
| collection | Thesis |
| description | Includes bibliographical references (p. 120-126). |
| format | Thesis |
| id | oai:open.uct.ac.za:11427/8204 |
| institution | University of Cape Town (South Africa) |
| language | eng |
| last_indexed | 2026-06-10T12:47:28.348Z |
| license_str | Not specified — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository |
| publishDate | 2014 |
| publishDateRange | 2014 |
| publishDateSort | 2014 |
| publisher | Michaelis School of Fine Art |
| publisherStr | Michaelis School of Fine Art |
| record_format | dspace |
| source_str | UCTD — University of Cape Town Open Access Repository |
| spelling | oai:open.uct.ac.za:11427/8204 Filling in the gaps Sacks, Ruth Alexander, Jane Mackenny, Virginia Fine Arts Includes bibliographical references (p. 120-126). In 2007, Brian O'Doherty's words still apply. The art object and its context are intrinsically intertwined. A variety of contexts make up the mechanisms of the contemporary art world. From established organizations to more informal platforms, each performs a necessary function. Representation in a national museum or a respected public collection bestows a measure of credibility on a piece. Outside of austere exhibition rooms and refined gallery spaces, more informal arenas have their own authority. An independent artistic intervention on a busy pavement or a remote beach can suggest an anti-institutionalist stance. The artist is not bound by the conventions of more traditional structures. Yet, a great deal of interventionist work ultimately makes its way into galleries and collections in the form of residue and documentation. These become marketable and collectable products. Similarly, reputed organizations sometimes orchestrate potentially disruptive insertions into the public sphere in the form of performances or temporary installations. Even when they appear to be at odds, the different forums in which artworks exist rely on each other. 2014-10-06T12:10:52Z 2014-10-06T12:10:52Z 2007 Master Thesis Masters MFA http://hdl.handle.net/11427/8204 eng application/pdf Michaelis School of Fine Art Faculty of Humanities University of Cape Town |
| spellingShingle | Fine Arts Sacks, Ruth Filling in the gaps |
| thesis_degree_str | Master's |
| title | Filling in the gaps |
| title_full | Filling in the gaps |
| title_fullStr | Filling in the gaps |
| title_full_unstemmed | Filling in the gaps |
| title_short | Filling in the gaps |
| title_sort | filling in the gaps |
| topic | Fine Arts |
| url | http://hdl.handle.net/11427/8204 |
| work_keys_str_mv | AT sacksruth fillinginthegaps |