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Compromised Values : = Charlotte Posenenske, 1966-Present.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Compromised Values :/
其他題名:	Charlotte Posenenske, 1966-Present.
作者:	Wallace, Ian.
面頁冊數:	1 online resource (367 pages)
附註:	Source: Dissertations Abstracts International, Volume: 82-12, Section: A.
Contained By:	Dissertations Abstracts International82-12A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28540017click for full text (PQDT)
ISBN:	9798515271572

Compromised Values : = Charlotte Posenenske, 1966-Present.
Wallace, Ian.

Compromised Values :Charlotte Posenenske, 1966-Present. - 1 online resource (367 pages)

Source: Dissertations Abstracts International, Volume: 82-12, Section: A.

Thesis (Ph.D.)--City University of New York, 2021.

Includes bibliographical references

Fabricated in unlimited series and sold at cost, the sculptures produced by Charlotte Posenenske between 1966 and 1967-modular wall reliefs, interactive cubic structures, and tubular geometric units whose installation requires collective decision making-were meant to confront both the artwork's commodity status and the limitation of its consumption to a privileged elite. Nevertheless, Posenenske's work has been effectively recuperated by the art system: first, in the 1980s, through a series of exhibitions and publications organized by her estate; and second, with her inclusion in Documenta 12 in 2007, which reintroduced her work to the market. Since the artist's death in 1985, her work's circulation through the art system has increasingly revealed the normally obscured role that economic value plays in curatorial and conservation practices. Inspired by the artist's own abandonment of art and turn to sociology after 1968, I examine her oeuvre via an expanded concept of value, using this term to refer to the often conflicting aesthetic, cultural, historical, and economic significance that is attached to artworks as they move through cultural and institutional contexts. Borrowing a term from cultural economist David Stark, I propose that Posenenske's sculptures create value heterarchies-systems in which multiple valuative criteria are in conflict, creating friction between modes of valuation and prompting the recognition of not-yet-formulated value categories. Given Posenenske's resistance to the commodification of her work during her life, her anticipation of its ongoing reproduction and circulation, and museums' subsequent assertion of its economic value after her death, this dissertation argues that her art is central to assessing the shifts in value that accompany the collection and preservation of institution-critical sculpture, as well as all objects that circulate within the art system.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798515271572Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

1960sIndex Terms--Genre/Form:

542853
Electronic books.

Compromised Values : = Charlotte Posenenske, 1966-Present.
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245 1 0 $a Compromised Values : $b Charlotte Posenenske, 1966-Present.
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500 $a Source: Dissertations Abstracts International, Volume: 82-12, Section: A.
500 $a Advisor: Joselit, David.
502 $a Thesis (Ph.D.)--City University of New York, 2021.
504 $a Includes bibliographical references
520 $a Fabricated in unlimited series and sold at cost, the sculptures produced by Charlotte Posenenske between 1966 and 1967-modular wall reliefs, interactive cubic structures, and tubular geometric units whose installation requires collective decision making-were meant to confront both the artwork's commodity status and the limitation of its consumption to a privileged elite. Nevertheless, Posenenske's work has been effectively recuperated by the art system: first, in the 1980s, through a series of exhibitions and publications organized by her estate; and second, with her inclusion in Documenta 12 in 2007, which reintroduced her work to the market. Since the artist's death in 1985, her work's circulation through the art system has increasingly revealed the normally obscured role that economic value plays in curatorial and conservation practices. Inspired by the artist's own abandonment of art and turn to sociology after 1968, I examine her oeuvre via an expanded concept of value, using this term to refer to the often conflicting aesthetic, cultural, historical, and economic significance that is attached to artworks as they move through cultural and institutional contexts. Borrowing a term from cultural economist David Stark, I propose that Posenenske's sculptures create value heterarchies-systems in which multiple valuative criteria are in conflict, creating friction between modes of valuation and prompting the recognition of not-yet-formulated value categories. Given Posenenske's resistance to the commodification of her work during her life, her anticipation of its ongoing reproduction and circulation, and museums' subsequent assertion of its economic value after her death, this dissertation argues that her art is central to assessing the shifts in value that accompany the collection and preservation of institution-critical sculpture, as well as all objects that circulate within the art system.
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538 $a Mode of access: World Wide Web
650 4 $a Art history. $3 2122701
650 4 $a Museum studies. $3 2122775
650 4 $a Art criticism. $3 526357
653 $a 1960s
653 $a Conceptualism
653 $a Conservation of Contemporary Art
653 $a Minimalism
653 $a Sculpture
653 $a West Germany
653 $a 1966-Present
653 $a Posenenski, Charlotte
653 $a Valuation
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710 2 $a City University of New York. $b Art History. $3 1032236
773 0 $t Dissertations Abstracts International $g 82-12A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28540017 $z click for full text (PQDT)