DEVELOPING THE FUTURE OF CONTEMPORARY ARTS, NOW
This – all of it – is work in progress. The models on this page are drafts; our attempt, after talking to artists, to define what is Metro Arts’ ‘aesthetic field’ – the type of contemporary art that Metro Arts facilitates.
We are publishing them because it’s important to communicate with artists and audiences where we invest and locate our vision in the field of contemporary arts. It’s our desire that these models generate a productive conversation about the nature of contemporary art and hopefully artists, academics and arts workers may be able to help us refine these ideas.
David Fenton PhD – CEO
Underpinning Metro Arts’ vision to develop the future of Australian contemporary art now, there are philosophical questions that go to the heart of why Metro Arts exists. They are prompted by the notion that all great art asks questions. Through our programming and curation, we challenge and enable artists to:
- > How do the contemporary arts respond to the urgent conversations of today?
- > How do the contemporary arts model our future?
- > How do the contemporary arts transform our culture?
- > How does contemporary arts practice grow and change into the future?
Posing these questions – and posting answers to them – demands a few things be clarified.
PROCESSES WE FACILITATE
Metro Arts champions the evolution and extension of artists and their work by facilitating experimentation and contemporary processes.
// TRADITIONAL PROCESSES
- > Time-tested structures and form
- > Adhering to convention
- > Distinct & distant audience positioning
- > Hierarchical making structures of personnel
- > Predominately hierarchical relationship between creative fields text/ direction/ performance; set/ lighting/ sound)
- > Emphasising virtuosic craftsmanship
- > Clear division between art forms
- > Made for traditional art spaces
// EXPERIMENTAL & CONTEMPORARY PROCESSES
- > Exploratory approach to structure and form
- > Open approach to discovering new work
- > Experiments with audience positioning (audience as witness; as participant; as co-artist)
- > May involve democratic or circular relationship between artists and audience
- > Work may grow from non-traditional stimulus and evolve through different fields (rather than through a written text, visual representation, or choreographic sequence)
- > Positions concept over skill
- > Hybrid, trans- or interdisciplinary work
- > May be made for unusual spaces; site-responsive/specific/intervening
Below is a model of how we curate and process diverse artists and their work through development to market.
Click on the model below to enlarge.
OUR AESTHETIC FIELD
The table below is a first draft – some sections haven’t been filled as we are still investigating, consulting and discussing those particular forms of contemporary art with artists and academics.
Click on the table below to enlarge.
These are some of the works that have informed our modelling of the Aesthetic Field of contemporary arts.
1. Barthes, R., ‘Camera Lucida’, Hill & Wang, USA, 1980
2. Baudrillard, J., ‘Simulacra & Simulation’, Editions Galilee, France, 1981/University of Michigan Press, USA, 1994.
3. Bishop, C., ‘Artificial Hells: Participatory Art and the Politics of Spectatorship’, Verso, UK, 2012.
4. Bourriaud, N., ‘Relational Aesthetics’, Les Presse Du Reel, France, 1998.
5. Brooks, P., ‘The Empty Space’, Penguin Books, USA, 1998 (reprint). First edition 1968.
6. Burrows, J., ‘A Choreographers Handbook’, Routledge, UK, 2010.
7. Burt, R., ‘Judson Dance Theater: Performative Traces’, Routledge, USA, 2006
8. Cage, J. & Charles, D., ‘For the Birds’, Boyars, USA, 1995.
9. Dirmoser, G. & Nieslony, B., ‘Performance Art Context Map’, 2001.
10. Eco, U., ‘The Open Work’, Harvard University Press, USA, 1989.
11. Goldberg, R., Performance: Live Art Since 1960′, Harry N. Abrams, USA, 1998.
12. Gomez-Pena, G. (ed), ‘Ethno Techno: Writings on Performance, Activism and Pedagogy’, Routledge, UK, 2005.
13. Heartney, E., ‘Art & Today’, Phaidon, USA, 2013.
14. Kaprow, A., ‘Essays on the Blurring of Art & Life: Expanded Edition’, University of California Press, 2003.
15. Keidan, L. & Mitchell, C.J. (ed’s), ‘Programme Notes: Case Studies for Locating Experimental Theatre’, Oberon Books & Live Art Development Agency, 2013.
16. Lehmann, H., ‘Postdramatic Theatre’, Routledge, UK, 2006.
17. McLean, I.A., ‘How Aborigines Invented the Idea of Contemporary Art’, IMA, Australia, 2011.
18. Rainer, Y. ‘No Manifesto’, 1965.
19 Ranciere, J., ‘The Emancipated Spectator’, Verso (Reprint Edition), UK, 2009.