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Informationen zum Autor Colin Painter is Artist, Curator and Emeritus Professor at the Wimbledon School of Art Klappentext The home is, for many people, the location for their most intense relationships with visual things. Because they are constructed through the objects we choose, domestic spaces are deeply revealing of a range of cultural issues. How is our interpretation of an object affected by the domestic environment in which it is placed? Why choose a stainless steel teapot over a leopard print one? How do the images hanging on the walls of our homes arrive there? In placing contemporary art in the context of the ordinary home, this book embarks on the contentious topic of whether high art impacts on ordinary people. What is the size and nature of the audience for contemporary art in Britain? Do people really visit more art galleries than attend football matches? What is the significance of the home in relation to such questions? Indeed, what constitutes art in the home? This book carefully unpicks these questions as well as the troubled relationship between the home as a place of comfort and reassurance and the often unsettling and challenging images offered by contemporary art. Within the art world, the home has been addressed as a subject and even used as a temporary gallery and a space for installations, and yet it is not common for works by todays avant-garde artists to be conceived and marketed to participate in the domestic lives that most people live. Handsomely illustrated, this book unites contemporary art, craft and design, with sociology, anthropology and cultural studies to provide an unusual and forthright addition to ongoing art and culture debates. Zusammenfassung The home is, for many people, the location for their most intense relationships with visual things. Because they are constructed through the objects we choose, domestic spaces are deeply revealing of a range of cultural issues. Inhaltsverzeichnis 1 The At Home With Art Project: A Summary Colin Painter2 Audiences for Contemporary Art. Assertions vs Evidence Sara Selwood3 Domestic Disturbances: Challenging the Anti-domestic Modern Christopher Reed4 House-trained Objects: Notes Towards Writing an Alternative History of Modern Art Tanya Harrod 5 The Art of Home-making and the Design Industries Tim Putnam6 What Would We Do Without It? A Few Thoughts About Reproduction in the History of Art Anthony Hughes7 Accommodating Daniel Miller8 Taste Wars and Design Dilemmas: Aesthetic Practice in the Home Alison J. Clarke 9 What Happened At Home With Art: Tracing the Experience of Consumers Rebecca Leach 10 Mass-production, Distribution and Destination Richard Deacon, Antony Gormley, Alison Wilding 11 Images, Contemporary Art and the Home Colin Painter 12 Avant-Garde and Kitsch Revisited Andrew Brighton IndexNOTES ON THE CONTRIBUTORS Andrew Brighton is Senior Curator, Public Events at Tate Modern, a critic and occasional curator. He is a Trustee of Peer (www.peeruk.org) @ an innovative arts charity for whom he was an editor on Art for All? Their Policies and our Culture, edited by Mark Wallinger and Mary Warnock. He is a contributing editor for Critical Quarterly where he published: 'Towards a common culture: New Labour's cultural policy and Soviet Socialist Realism'. His writing has been published in journals such as: Art in America, Art Monthly, London Review of Books, Studio International and The Guardian. His book, Francis Bacon, Tate Publishing, appeared in 2001.Alison J. Clarke lectures in material culture and design history at the Royal College of Art, London and as Visiting Professor of Design Theory at the University of Applied Arts, Vienna. Her work deals with the consumption of everyday material and visual culture. Previous publications include Tupperware: the Promise of Plastic in 1950s America (Smithsonian Press 1999) and 'The Aesthetics of Social Aspiration' in Home Possessions ed. D. Miller (Berg 2001). H...
