Personal excavation : multiplicity and museological display
Modern and contemporary artists have employed and co-opted the technologies of industrial mass production to create and distribute works of art in forms variously termed as multiples, printed matter or mail art. This strategy was pre-eminent in the 1960s and early 1970s when there was a widespread interest among artists in creating prints and books as works of art, and it was most central to the art group known as Fluxus, in Conceptual art and in the mail art movement. The multiple has re-emerged in recent contemporary art and it is an important strand in my practice. However, my works are not only informed by the methods of industrial mass-production, but also by the practices of the hand-made. It is one of my prime principles to engage with the theme of multiplicity and to use multiply produced forms. The potentialities by assembled or collaged image provides a very remarkable point from which to approach contemporary aesthetic debates within postmodernism and to launch any searching examination of the formative currents in post-modern art. While contemporary art has challenged the rigid boundaries between form and content, the role of âthe museological displayâ remains crucial to the understanding of
Young-Gil, Kim
Personal excavation : multiplicity and museological display. Modern and contemporary artists have employed and co-opted the technologies of industrial mass production to create and distribute works of art in forms variously termed as multiples, printed matter or mail art. This strategy was pre-eminent in the 1960s and early 1970s when there was a widespread interest among artists in creating prints and books as works of art, and it was most central to the art group known as Fluxus, in Conceptual art and in the mail art movement. The multiple has re-emerged in recent contemporary art and it is an important strand in my practice. However, my works are not only informed by the methods of industrial mass-production, but also by the practices of the hand-made. It is one of my prime principles to engage with the theme of multiplicity and to use multiply produced forms. The potentialities by assembled or collaged image provides a very remarkable point from which to approach contemporary aesthetic debates within postmodernism and to launch any searching examination of the formative currents in post-modern art. While contemporary art has challenged the rigid boundaries between form and content, the role of âthe museological displayâ remains crucial to the understanding of
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