CIHA 2016 in Beijing
34th World Congress of Art HistoryAbout History Press Release Sessions Schedule Activities Participants Venue Discussion Registration Closed
Session 10 Gendered Practices
University of Sydney
Marcel Broodthaers’ Museum of Modern Art, Départment des Aigles (1968), regarded as one of the pioneering works of institutional critique, began life as a domestic installation. The artist constructed his idiosyncratic collection display out of crates, postcards and inscriptions, and sanctified it with a catalogue, all in the confines of his Brussels apartment. The domestic nature of the work has been overlooked, an oversight helped along by the fact that Broodthaers’ Museum was re-mounted and re-exhibited several times, each iteration in a higher profile museum or art institution, culminating in MoMA (2016). Institutional Critique, an influential strain of work in late modernist and contemporary art, engages almost exclusively with the modern museum in its various guises. But is it possible that Broodthaers’ original gesture belongs to another, under-recognised artistic strategy that locates institutional critique within the domestic sphere? How might this critique be practised, what might be its effects, and what does it owe to feminist insights?We focus on three contemporary manifestations of domestic institutional critique: 1) where artists create pop-up domestic spaces; 2) where artists combine the places where they live and make art with the places art is exhibited; and 3) Australian indigenous art produced and exhibited in related domestic, commercial and political settings.In these practices, the domestic is invoked as a way of shifting the terms of conventional institutional politics.
MOORE, Catriona and MILLNER, Jacqueline
Dr Jacqueline Millnercompleted studies in law, political science, and visual arts, before consolidating a career as an arts writer and academic specialising in the history and theory of contemporary art. Sheis Associate Dean Research at Sydney College of the Arts, University of Sydney, where she also lectures on contemporary art theory and history. She has published widely on contemporary Australian and international art in key anthologies, journals and catalogues of national and international institutions. Her books include Conceptual Beauty: Perspectives on Australian Contemporary Art (2010, Sydney: Artspace), Australian Artists in the Contemporary Museum (with Jennifer Barrett, London: Ashgate, 2014) and Fashionable Art (with Adam Geczy, London: Bloomsbury, 2015). She co-convenes the research cluster Contemporary Art and Feminism at the University of Sydney and is currently writing a book on Contemporary Art and Feminism with Catriona Moore.
Dr Catriona Mooreis Senior Lecturer in Art History & Film Studies at the University of Sydney. She has published widely on feminist art and activism, and more broadly on modern and contemporary women artists. Her research and writing has opened up cross-cultural connections between women artists and explored the visual expression of cultural diversity in modern and contemporary Australian art, within a comparative international framework. She is the author and editor of books central to the development of the feminist history of Australian art, including Indecent Exposures: Twenty Years of Australian Feminist Photography (Allen and Unwin, Sydney, 1991) and Dissonance: Feminism and the arts 1970-1990 (Allen and Unwin, Sydney, 1991). She co-convenes the research cluster Contemporary Art and Feminism at the University of Sydney.