Use this URL to cite or link to this record in EThOS:
Title: Navigating the void : international contemporary art and the triangle network
Author: Crane, Emily
ISNI:       0000 0004 5916 6179
Awarding Body: University of East Anglia
Current Institution: University of East Anglia
Date of Award: 2015
Availability of Full Text:
Access from EThOS:
Access from Institution:
This thesis explores the artist-led initiatives associated with the Triangle Network in the United States, United Kingdom, Southern Africa and South Asia, between 1982 and 2015. It considers how artists have set up artist-led initiatives as a response to different circumstances in these regions, and how the idea of a network has influence this development. It is specifically concerned with how artist-led initiatives have contributed to shifts in art-world infrastructures and the writing of contemporary art histories. In particular it shows how the idea for international artist-led workshops spread from an intitial workshop in Upstate New York to an international network of partner-workshops across the world. It demonstrates how these workshops often led to: the creation of new spaces for artists to work and host visiting artists for residency programs; new exhibitions and publications; and a cosmopolitan sense of international artistic exchange. It also shows how these artistic exchanges have been concerned with better regional and South- South connectivity. It examines why and how such artist-led initiatives have been initiated and run, and what impact belonging to a network has had on the artists and artworks. The purpose of this thesis is to argue that an understanding of these types of organisations is a useful contribution to international contemporary art history, as they often represent moments of transformation and emergence. Using the notions of assemblages and networks as analytical tools, the thesis explores the possibilities these approaches have to art historical writing. Such an approach allows for analysis of heterogeneous actancts including artworks, materials, artists, institutions, books, spaces, websites, and funding streams. The intention of this thesis is to contribute an approach to writing about contemporary art history from the perspective of ‘grass-roots globalization’ (Appardurai, 1999) that can counter readings of global contemporary art based only on hegemonic institutions.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available