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Museum Highlights
Essays, criticism, and performance scripts written between 1985 and 2003 by an artist whose artistic practice investigates and reveals the social structures of art and its institutions. Andrea Fraser's work, writes Pierre Bourdieu in his foreword to Museum Highlights, is able to "trigger a social mechanism, a sort of machine infernale whose operation causes the hidden truth of social reality to reveal itself." It often does this by incorporating and inhabiting the social role it sets out to critique—as in a performance piece in which she leads a tour as a museum docent and describes the men's room in the same elevated language that she uses to describe seventeenth-century Dutch paintings. ...
Andrea Fraser
Controversial, provocative, and at the same time poignantly humorous. Andrea Fraser (*1965 in Billings, Montana) is one of the most influential and pioneering artists of her generation and has been captivating her audience for more than thirty years. She employs a wide range of media, including prints, photographs, installations, and performances as well as texts and videos, time and again reformulating the same question: what we all want from art--the motivation behind Fraser's artistic production, how we view it, and how the art market distributes it.The richly illustrated catalogue allows tracing the artist for the first time from the beginning of her career. It assembles the early Four Posters (1984) as well as her famous performances, such as Museum Highlights (1989), Inaugural Speech (1997), and Official Welcome (2001/03), linking them with her most recent videos.Exhibition: Museum der Moderne Salzburg, 21.3.-5.7.2015
Andrea Fraser
Edited by Yilmaz Dziewior.
Exhibition
American artist Andrea Fraser's energetic parodies of the art world seem like stand-up comedy, whether she's doing her own wacky take on a docent talk or engaging in an erotic encounter with the Guggenheim Bilbao. But her sometimes-hilarious performances address serious issues, like the relationship between an art institution and its visitors, or the meaning of "education" in a museum. Includes multiple video frames and transcripts of four works performed at the Belkin Gallery at the University of British Columbia.
My Barbarian
An unprecedented look at the contemporary collective's theatrical art, charting their performances and exploring their social and creative commitments The first monographic publication on the art collective My Barbarian (Malik Gaines, Jade Gordon, and Alexandro Segade) offers new insights into the work of this singular group of performers. My Barbarian has used performance to theatricalize social issues, adapting narratives from modern plays, historical texts, and mass media; this volume accompanies a major retrospective celebrating the group's twentieth anniversary. An overview essay relates their work's formal qualities to several historical moments over this span: the club era following S...
Institutional Critique and After
« Institutional critique and after explores the history and contemporary reassessment of the Institutional Critique movement lauched in the late 1960s, redeveloped in the 1980s, and vigorously reoriented in recent years to address issues such as globalization. In this publication, the histories, theories, diverse locations, and different kinds of institutional alternative space are investigated, looking at traditional forms of art but also at installation, performance, new media practices, and cultural activism. Its central questions turn on the critical potential of art (and institutions) and whether–and if so how–they can stimulate social or political change. »--
One Place after Another
A critical history of site-specific art since the late 1960s. Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of s...
Andrea Fraser
"This catalogue was developed to accompany an extensive exhibition of works by North American artist Andrea Fraser at the Museum der Moderne Salzburg. ... With this, the first major exhibition of her work at an Austrian institution, and the accompanying catalogue, we have sought to offer a comprehensive review of her practice."--Introduction.
Andrea Fraser
This publication is a substantial archive and a singular point of entry into thinking with and understanding Andrea Fraser's work and reception. The interview format provides intimate insight into Fraser's self-positioning as a central aspect of her practice. By presenting the artist's voice as mediated through interlocutors ranging from professional peers to popular media, 'Collected Interviews, 1990-2018' uniquely contextualizes Fraser's practice in the artistic, institutional, and discursive fields in which she intervenes. As Fraser is engaged, challenged, and understood from diverse perspectives, readers learn as much about her artistic commitments from the artist's humor and affect as from her incisive analyses. The collection spans three decades, from the early 1990s to the present, and is organized chronologically with minimal editing. The collection's unmediated format allows Fraser's key ideas and themes to attain deeper resonance through repetitions and subtle differentiations over multiple conversations.
Spuzzum
Living on the banks of the turbulent Fraser River, the Nlaka'pamux people of Spuzzum have a long history of contact with non-aboriginal peoples. They watched as Hudson's Bay Company employees hacked a path through the mountains for the fur brigades, and over time they found themselves in the path of the Cariboo road, the CPR, and virtually every commercial and province-building initiative undertaken in the region over the past two centuries. Juxtaposing historical narratives and cultural interpretation from the community of Spuzzum with archival information, this book explores the history of Spuzzum in the light of concepts central to the Nlaka'pamux definition of family, political authority, land, and cosmos.
