Grace McQuilten – författare

Written with beautiful clarity, Art in Consumer Culture: Mis-Design asks the contemporary art world to be honest about the pervasive effects of commodification and the difficulty of staging critique. The book examines the collusion of 'art' and 'design' in contemporary artistic practices in order to find avenues of critique in a commercially driven cultural landscape. Grace McQuilten focuses on the work of Takashi Murakami, Andrea Zittel, Adam Kalkin and Vito Acconci, four contemporary artists who claim to be working in the field of design rather than the traditional art world. McQuilten argues that Zittel, Acconci and Kalkin engage with 'design' only to reactivate the critical practice of art in a more direct engagement with capital - and conceives of and affirms a future for art, outside of the art world, as a parasite in the complex beast of late capitalism. This book is an important and timely provocation to a cynical and apathetic consumer culture, and a call to arms for creative freedom and critical thought.

Art is produced, circulated, consumed and disseminated within an economic system - it depends on money for its creation, for the livelihood of its makers, and for its distribution. In this sense, art can be understood as an enterprising activity. However, profit-making is rarely the primary goal of artists, and indeed the entanglement of art with enterprise generates significant aesthetic, conceptual, philosophical and ethical challenges for contemporary art practice. Social enterprise has emerged from this complex terrain with the promise of an alternative model of economic organisation in the arts. Grace McQuilten and Anthony White argue that artists can, and have, engaged critically in the commercial market, by way of this model. Art as Enterprise brings a fresh perspective to the debate about the roles of contemporary art in consumer capitalist society.

Written with beautiful clarity, Art in Consumer Culture: Mis-Design asks the contemporary art world to be honest about the pervasive effects of commodification and the difficulty of staging critique. The book examines the collusion of 'art' and 'design' in contemporary artistic practices in order to find avenues of critique in a commercially driven cultural landscape. Grace McQuilten focuses on the work of Takashi Murakami, Andrea Zittel, Adam Kalkin and Vito Acconci, four contemporary artists who claim to be working in the field of design rather than the traditional art world. McQuilten argues that Zittel, Acconci and Kalkin engage with 'design' only to reactivate the critical practice of art in a more direct engagement with capital - and conceives of and affirms a future for art, outside of the art world, as a parasite in the complex beast of late capitalism. This book is an important and timely provocation to a cynical and apathetic consumer culture, and a call to arms for creative freedom and critical thought.

Art is produced, circulated, consumed and disseminated within an economic system - it depends on money for its creation, for the livelihood of its makers, and for its distribution. In this sense, art can be understood as an enterprising activity. However, profit-making is rarely the primary goal of artists, and indeed the entanglement of art with enterprise generates significant aesthetic, conceptual, philosophical and ethical challenges for contemporary art practice. Social enterprise has emerged from this complex terrain with the promise of an alternative model of economic organisation in the arts. Grace McQuilten and Anthony White argue that artists can, and have, engaged critically in the commercial market, by way of this model. Art as Enterprise brings a fresh perspective to the debate about the roles of contemporary art in consumer capitalist society.

Contemporary art has a complex relationship to crisis. On the one hand, art can draw us toward apocalypse: it charts unfolding chaos, reflects and amplifies the effects of crisis, shows us the dystopian in both our daily life and in our imagined futures. On the other hand, art’s complexity helps fathom the uncertainty of the world, question and challenge the order of things, and allows us to imagine new ways of living and being – to make new worlds.This collection of written and visual essays includes artistic responses to various crises – including the climate emergency, global and local inequalities and the COVID-19 pandemic – and suggests new forms of collectivity and collaboration within artistic practice. It surveys a wide variety of practices, oriented from the perspective of Australia, New Zealand and Asia. Art making has always responded to the world; the essays in this collection explore how artists are adapting to a world in crisis.The contributions to this book are arranged in four sections: artistic responses; critical reflections, new curatorial approaches and the art school reimagined. Alongside the written chapters, three photographic essays provide specific examples of new visual forms in artistic practice under crisis conditions.The primary market for the book will be scholars and upper-level students of art and curating at both undergraduate and postgraduate level. Specifically, the book will appeal to the burgeoning field of study around socially engaged art.Beyond the academic and student market, it will appeal to practicing artists and curators, especially those engaged in social practice and community-based art.

Contemporary art has a complex relationship to crisis. On the one hand, art can draw us toward apocalypse: it charts unfolding chaos, reflects and amplifies the effects of crisis, shows us the dystopian in both our daily life and in our imagined futures. On the other hand, art’s complexity helps fathom the uncertainty of the world, question and challenge the order of things, and allows us to imagine new ways of living and being – to make new worlds.This collection of written and visual essays includes artistic responses to various crises – including the climate emergency, global and local inequalities and the COVID-19 pandemic – and suggests new forms of collectivity and collaboration within artistic practice. It surveys a wide variety of practices, oriented from the perspective of Australia, New Zealand and Asia. Art making has always responded to the world; the essays in this collection explore how artists are adapting to a world in crisis.The contributions to this book are arranged in four sections: artistic responses; critical reflections, new curatorial approaches and the art school reimagined. Alongside the written chapters, three photographic essays provide specific examples of new visual forms in artistic practice under crisis conditions.The primary market for the book will be scholars and upper-level students of art and curating at both undergraduate and postgraduate level. Specifically, the book will appeal to the burgeoning field of study around socially engaged art.Beyond the academic and student market, it will appeal to practicing artists and curators, especially those engaged in social practice and community-based art.

This book analyses the challenges and opportunities faced by art-based social enterprises (ASEs) engaging young creatives in education and training and supporting their pathways to the creative industries.