Description:Q6364: Difference between revisions

From DAAP
Jump to navigation Jump to search
(Created page with "The concept of the Disoeuvre has been named and developed by Felicity Allen over the last decade through research and in dialogue with others - see www.felicityallen.co.uk/the-disoeuvre for more info. Recognising the often intermittent nature of an art practice for many women and those who are positioned as marginal to art’s production, the Disoeuvre acknowledges that we have had to work socially and institutionally, as well as in the studio, not only to make work, but...")
 
No edit summary
Line 1: Line 1:
The concept of the Disoeuvre has been named and
The Disoeuvre: a definition in progress
developed by Felicity Allen over the last decade
People positioned as marginal to art’s production
through research and in dialogue with others - see
must work socially and institutionally, as well
www.felicityallen.co.uk/the-disoeuvre for more
as in the studio, not only to make work, but to
info. Recognising the often intermittent nature of
change existing structures so that their work can be
an art practice for many women and those who
recognised and critically received as art.
are positioned as marginal to art’s production, the
Rather than disregarding those whose conventional
Disoeuvre acknowledges that we have had to work
oeuvre seems interrupted and inconsistent, we
socially and institutionally, as well as in the studio,
should look for artistic consistency in an artist’s
not only to make work, but to change existing
work made in and beyond the studio, through
structures so that our work can be recognised and
employment at art’s institutions, or connected, for
instance, to the labour of care, activism and other
social practices.


critically received as art. Rather than failure to
As a critical tool, the Disoeuvre takes account
achieve consistency through an interrupted oeuvre,
of artists’ training in adaptability and their
we can find originality and consistency by tracking
working lives across different sites. It responds to
work undertaken not only in the studio but, for
practices persisting through ‘feminised’ labour (as
instance, at home or in paid employment during a
maintenance or precarity), domestic instability,
career’s apparent interruptions.
transience of documentation, new recognition for
overlooked visual activisms and curatorial strategies,
archival gaps and is open to more.

Revision as of 12:57, 28 August 2023

The Disoeuvre: a definition in progress People positioned as marginal to art’s production must work socially and institutionally, as well as in the studio, not only to make work, but to change existing structures so that their work can be recognised and critically received as art. Rather than disregarding those whose conventional oeuvre seems interrupted and inconsistent, we should look for artistic consistency in an artist’s work made in and beyond the studio, through employment at art’s institutions, or connected, for instance, to the labour of care, activism and other social practices.

As a critical tool, the Disoeuvre takes account of artists’ training in adaptability and their working lives across different sites. It responds to practices persisting through ‘feminised’ labour (as maintenance or precarity), domestic instability, transience of documentation, new recognition for overlooked visual activisms and curatorial strategies, archival gaps and is open to more.

Retrieved from "https://daap.bannerrepeater.org/w/index.php?title=Description:Q6364&oldid=31060"