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.
Table of Contents
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). Her most recent project, tied to the AHRB Centre for the Study of the Domestic Interior at the RCA, is entitled 'Setting Up Home'.Richard Deacon is a sculptor whose work is known internationally. In 1987 he was awarded the Turner Prize. His achievements were recognized in 1996 with the award of the Chevalier de l'Ordre des Arts et Lettres by the Ministry of Culture, France. In the 1999 New Years Honours List he was made CBE for his significant contribution to the arts in Britain. He is a Royal Academician and Professor at the Ecole Nationale Suprieure des Beaux-Arts in Paris.Antony Gormley has created some of the most ambitious and recognizable works of the past two decades including Field, The Angel of the North and, most recently, Quantum Cloud on the Thames in Greenwich. He has created large-scale installations in Cuxhaven, Germany and at the Royal Academy, London, participated in group shows such as the Venice Biennale and Documenta 8, and had solo exhibitions at the Whitechapel Gallery, Serpentine Gallery, Tate St Ives and White Cube. He was made an OBE in 1997, awarded the Turner Prize in 1994 and the South Bank Prize for Visual Art in 1999. Tanya Harrod is a Visiting Professor at the Royal College of Art and is the author of The Crafts in Britain in the Twentieth Century, Yale University Press 1999. From 1989 to 1994 she was design and architecture correspondent for the Independent on Sunday and she writes for The Burlington Magazine, the TLS, The Spectator and Crafts. Current projects include a study of Le Corbusier's inte
Colin Painter is Artist, Curator and Emeritus Professor at the Wimbledon School of Art