Andrea fraser whitney biennial 2012 essay.

In response to the invitation to participate in the Whitney Biennial in 2012, Fraser submitted the essay “There’s no place like home,” outlining her continual withdrawal from the art world, another ongoing critical engagement. It was printed in the exhibition catalogue and made available as a pdf download. It was a companion piece to her.

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Writing this essay and the prospect of contributing to the 2012 Whitney Biennial are no exception. As I begin working on this text, the Occupy Wall Street movement is spreading across the United States and beyond. Along with many of what is most certainly an overwhelming majority of artists, curators, art crit-ics, and historians who profess a progressive if not radically left political.Andrea Fraser, There's No Place Like Home, catalog essay Whitney Biennial 2012 andrea fraser as jane castleton Surprise:a functional tap! Andrea Fraser, Museum Highlights. Teaching Art Art History Carp Museums People Common Carp Museum Folk. little frank and his carp, 2001 video. What others are saying. little frank and his carp, 2001 video andrea fraser. little frank and his carp, 2001.Andrea Fraser is a performance artist. Her recent work includes an essay for the Whitney Biennial 2012 and the performance Men on the Line: Men Committed to Feminism, KPFA, 1972. She is a Professor of Art at the University of California, Los Angeles.


Behold, the “art” of Andrea Fraser, a University of California art professor known for writing an essay in place of making art for her exhibit example in Whitney’s Biennial four years ago. Apparently she doesn’t like to get her hands dirty. In place of visual art for her current show, she offers sounds, and not just everyday sounds like bird songs or the roar of an ocean.Taking responsibility for the role of the artist in the machine we call “the art world,” artist Andrea Fraser’s contribution to the 2012 Whitney Biennial of Contemporary Art was an essay in.

This conversation with Andrea Fraser took place in January, on the day that followed her performance of Men on the Line: Men Committed to Feminism, KPFK, 1972 at the ICA Boston.Fraser has gained much recognition for her engagement in Institutional Critique, with pieces such as Museum Highlights (1989), Little Frank and His Carp (2001), and the now notorious Untitled. 1.

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Andrea Fraser (187) Writing this essay and the prospect of contributing to the 2012 Whitney Biennial are no exception. As I begin working on this text, the Occupy Wall Street movement is spreading across the United States and beyond. Along with many of what is most certainly an overwhelming majority of artists, curators, art critics.

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In her contribution to the 2012 Whitney Biennial, New York-based performance artist Andrea Fraser; best known for her work in the area of institutional critique, wrote the essay “There’s no place like home.” The six-page document, written during the height of the Occupy protests, sheds light on contradictions between the economic and social definitions of art and the actual function and.

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Knight's presence, like that of Andrea Fraser, nostalgically recalls an era when institutional critique investigated the collusions of art institutions with capital more directly, implicitly presenting the institution's authority as well-nigh invincible, and thus a fair target. This Biennial shows us an institution that appears less sure of its moment, wary of accusations, and hopeful of.

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The artist Andrea Fraser has made a career of institutional critique; her inclusion in the 2012 Whitney Biennial may be a sign of this particular genre’s renewed cachet. The Biennial is traditionally viewed as an indicator of the art world’s general mood, and in 2012 this mood was introspective art-about-art.

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The “art world” concerns of classic critique seemed less urgent in an era defined by the AIDS epidemic and the institutionalized multiculturalism epitomized by the 1993 Whitney Biennial. By 2005, in an essay published in these pages and reprinted in the catalogue accompanying “All Connected,” Fraser could announce that “institutional critique is dead,” a “victim of its success.

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Andrea Fraser - 2012 - Continent 2 (3):186-201. First published by Texte zur Kunst and as part of the Whitney Biennial, we present Fraser 's essays together express a something like claustrophobia.

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Catherine Wood is senior curator of international art (performance) at Tate Modern, London. The significance of the term action in relation to art has shifted gradually since the late 1950s and 1960s from connoting straightforward physical action, for example in “action painting,” toward a more charged or political association in the 1970s, relating in part to the idea of activism. However.

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This article describes the reactions to, and contains an interview about, artist Andrea Fraser’s essay “ L’1% c’est moi ”, freely available to download from the Whitney Museum’s website as part of its 2012 Biennial. In her essay, the California-based artist and professor at UCLA stresses her concerns that today, art is not only an.

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