Not signed in (Sign In)
    • CommentAuthorModerator
    • CommentTimeJun 17th 2010 edited
    This discussion focuses on independent art initiatives and their relationship to art institutions and commercial entities.

    The popular perception of independent positions (and some non-profits) is constructed around oppositions to institutionalization and the market. (i.e, resisting the professionalized operations of museums or shunning the commercial drive of galleries/art fairs.) Perhaps things are not so clear cut.

    It is worth further examining this position especially in light of recent developments in the art world: emergence of pedagogical/public event driven art fair programs, sliding roles of commercial galleries, audience-driven museums, and commerce-type fundraising activities by non-profits.

    Do these developments change the relationship between independents and other entities? Is this popular perception of the independent accurate, reductive, or counterproductive? What possibilities could emerge in these shifting profiles and contexts?
    sliding roles of commercial galleries,

    • CommentAuthormmworkfifa
    • CommentTimeDec 10th 2016
    Burton pulled only two train track downwards, but, providing typically the Western towards leapfrog your man towards the bronze medal standing, even though supplementing with fences downwards their self. Over joyed to help with making it again on to the podium, typically the Western riders believed: “I was basically downwards on the subject of your fault and yet I just preferred professionally all the way up and reveal running. It’s a fantasy. It’s a huge try out from a rider’s qualities, the try out you will find through equestrianism.