Ja, det låter krångligt men det är det inte. Vi pratar helt enkelt om vilka metoder konstnärer har använt sig av för att verka utanför akademin. Vad ville de uppnå? och varför ville de inte vara en del av akademin?
<audio class="wp-audio-shortcode" id="audio-736-24" preload="none" style="width: 100%;" controls="controls"><source type="audio/mpeg" src="https://curatingjournal.com/wp-content/uploads/2019/02/utomakademiska-metoder.mp3?_=24" /><a href="https://curatingjournal.com/wp-content/uploads/2019/02/utomakademiska-metoder.mp3">https://curatingjournal.com/wp-content/uploads/2019/02/utomakademiska-metoder.mp3</a></audio>
<div data-shortcode="caption" id="attachment_733" style="width: 557px" class="wp-caption alignleft"><img aria-describedby="caption-attachment-733" loading="lazy" data-attachment-id="733" data-permalink="https://curatingjournal.com/nameless-and-friendless-the-rich-mans-wealth-is-his-strong-city-etc-proverbs-x-15-1857-by-emily-mary-osborn-1828-1925/" data-orig-file="https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg" data-orig-size="1536,1189" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"Nameless and Friendless. \"The rich man's wealth is his strong city, etc.\" - Proverbs, x, 15 1857 Emily Mary Osborn 1828-1925 Purchased with assistance from Tate Members, the Millwood Legacy and a private donor 2009 http://www.tate.org.uk/art/work/T12936","created_timestamp":"0","copyright":"Photo (c) Tate","focal_length":"0","iso":"0","shutter_speed":"0","title":"Nameless and Friendless. \"The rich man's wealth is his strong city, etc.\" - Proverbs, x, 15 1857 by Emily Mary Osborn 1828-1925","orientation":"0"}" data-image-title="Nameless and Friendless. &#8220;The rich man&#8217;s wealth is his strong city, etc.&#8221; &#8211; Proverbs, x, 15 1857 by Emily Mary Osborn 1828-1925" data-image-description="" data-image-caption="Nameless and Friendless. &#8220;The rich man&#8217;s wealth is his strong city, etc.&#8221; &#8211; Proverbs, x, 15 1857 Emily Mary Osborn 1828-1925 Purchased with assistance from Tate Members, the Millwood Legacy and a private donor 2009 http://www.tate.org.uk/art/work/T12936
" data-medium-file="https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=300" data-large-file="https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=547" class="size-large wp-image-733" src="https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=547" alt="" width="547" height="423" srcset="https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=547 547w, https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=1094 1094w, https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=150 150w, https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=300 300w, https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=768 768w, https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=1024 1024w" sizes="(max-width: 547px) 100vw, 547px" />Nameless and Friendless, 1857, Emily Mary Osborn, 1828-1925</div>

Ja, det låter krångligt men det är det inte. Vi pratar helt enkelt om vilka metoder konstnärer har använt sig av för att verka utanför akademin. Vad ville de uppnå? och varför ville de inte vara en del av akademin? https://curatingjournal.com/wp-content/uploads/2019/02/utomakademiska-metoder.mp3 Nameless and Friendless. “The rich man’s wealth is his strong city, etc.” – Proverbs, x, 15 1857 Emily Mary Osborn 1828-1925 Purchased with assistance from Tate Members, the Millwood Legacy and a private donor 2009 http://www.tate.org.uk/art/work/T12936 " data-medium-file="https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=300" data-large-file="https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=547" class="size-large wp-image-733" src="https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=547" alt="" width="547" height="423" srcset="https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=547 547w, https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=1094 1094w, https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=150 150w, https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=300 300w, https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=768 768w, https://curatingjournal.com/wp-content/uploads/2019/02/t12936_10.jpg?w=1024 1024w" sizes="(max-width: 547px) 100vw, 547px" />Nameless and Friendless, 1857, Emily Mary Osborn, 1828-1925

Ja, det låter krångligt men det är det inte. Vi pratar helt enkelt om vilka metoder konstnärer har använt sig av för att verka utanför akademin. Vad ville de uppnå? och varför ville de inte vara en del av akademin?
<a href="https://curatingjournal.com/wp-content/uploads/2019/02/utomakademiska-metoder.mp3" rel="noopener noreferrer">https://curatingjournal.com/wp-content/uploads/2019/02/utomakademiska-metoder.mp3</a>
Nameless and Friendless, 1857, Emily Mary Osborn, 1828-1925

19. Utomakademiska metoder

Exhibitions are a tool, not the result. Art should open up for a democratic dialog and rethink the ‘ordinary’ exhibition practises. Martha Rosler: “art make difference to a social movement only when it is made in cognizance of those movements.” . Exhibition making can be a model of resistance, a tool and not the result.

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19. Utomakademiska metoder

19. Utomakademiska metoder

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