The World Is Full of Objects, More or Less Interesting; I Do Not Wish to Add Any More
2016 | 63 Pages | Edition of 30 | A5-size | Written in Dutch
Graphic Design by Lyanne Polderman | Printed at the Charles Nypels Lab, Jan van Eyck Academie
This thesis delves into the origins of the so-called "postartist." Given the academic and artistic inconsistencies in the term's definition and usage, various interpretations from a range of sources are compared and critically analyzed. The concept of "postproduction," central to the work of postartists, is also explored in depth. The starting point of this thesis is Camiel van Winkel's essay The Myth of Artisthood, in which the "postartist" plays a small but controversial and loathed role. From there, I follow a trail of breadcrumbs to unravel this perhaps not-so-mysterious form of art practice.
The changing art practices of the 1960s, coupled with the earlier emergence of the readymade, provided the foundation for the so-called "dematerialized" practice of the postartist. In 1969, conceptual artist Douglas Huebler famously stated, "The world is full of objects, more or less interesting; I do not wish to add any more." Reflecting a broader shift among artists of the era, Huebler redirected his creative efforts toward forms of artmaking that transcended traditional media, technical skill, and aesthetic conventions. Instead, for many artists of that time, the political, societal, and educational dimensions of art production and reception took center stage.
This thesis primarily investigates the origins of the concepts of "postartist" and "postproduction," offering an in-depth analysis of the historical processes that have shaped their development. Furthermore, it delves into the postproduction practices of postartists, connecting key modern and contemporary art practices with relevant theoretical perspectives. The discussion includes works by John Baldessari, Wim T. Schippers, Allan Kaprow, Ane Hjort Guttu, Martin Creed, Camille Henrot, Mark Leckey, Tino Sehgal, Rirkrit Tiravanija, Christian Nyampeta, and Hedwig Houben.
Lastly, this research seeks to challenge the romanticized idea that an artist’s role is confined to a solitary, brilliant act of pure creation. Instead, it posits that art has always been a collaborative and interconnected field, inseparably tied to the sociopolitical and historical contexts that shape it—and which it, in turn, influences.
The thesis concludes on an idealistic note, suggesting that artists have the potential to teach us how to "inhabit the world in a better way" (Bourriaud, N., 2005, Postproduction, Sternberg Press). As such, art can serve as a catalyst for questioning the status quo, fostering new personal and societal insights, and enabling us to see the world through a new lens.
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