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<https://discovery.ucl.ac.uk/id/eprint/10006486> <http://purl.org/dc/terms/title> "How did the reticent object become so obliging? : artists' interventions as interpretive strategies in galleries and museums"^^<http://www.w3.org/2001/XMLSchema#string> .
<https://discovery.ucl.ac.uk/id/eprint/10006486> <http://purl.org/ontology/bibo/abstract> "This is a study about knowledge/power in galleries and museums, contested and reconfigured\nby a genre of artworks, referred to as Artists' Interventions. Such\nartworks, their intended functions, and pedagogic uses are the locus of the study.\nI define galleries and museums as inherently pedagogic institutions, which have\nhistorically constructed and disseminated dominant systems of value. In order to\nexamine in what ways these values have been reconfigured through Artists'\nInterventions, I undertake a historiography of the role of the gallery and museum.\nIn defining interventions, I differentiate between interventionist artworks that disrupt\nand contest the 'normative' or dominant discourse of galleries and museums, and\nartworks that support and confirm established interpretations of art and artefacts, and\nfocus attention on the former.\nI propose art-historical predecessors for Artists' Interventions and situate\ncontemporary initiatives in relation to disruptive, dialogic and parodic methodologies.\nThese are more closely examined in a central case study, a practice-based aspect of the\nthesis in which I make my own intervention, An Elite Experience for Everyone,\nperformed and exhibited at the William Morris Gallery, London (2005).\nWhere Artists' Interventions have emerged against a backdrop of dominant regulatory\nand divisionary discourse their disruptive and parodic strategies re-establish the\nmuseum as a discursive forum. However, the trope of disruption and dialogue has\nrecently been accommodated within curatorial and pedagogic initiatives. Only the\ntrickster is allowed to evade this assimilation."^^<http://www.w3.org/2001/XMLSchema#string> .
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