Arts writer and researcher, based in Liverpool. Liverpool
In the midst of a growth in performative and participatory art at international art biennials, Documenta recently confirmed the site of a new permanent institute in Kassel. Inspired by an academic conference on conserving contemporary art, Laura Harris assesses the challenges the institute faces in a climate where the experiential is increasingly taking precedence over the art object.
LaBeouf, Rönkkö & Turner’s anti-Trump artwork, HeWillNotDivide.Us, has been closed down after just one day in Liverpool, its fourth site since launching in New York on Donald Trump’s inauguration day. Laura Harris argues that the controversial work’s fate embodies the struggle facing left-wing political artists.
Dave Beech’s book Art and Value was the subject of a recent symposium at London’s ICA that raised important questions about such diverse areas as the role of arts organisations, corporate sponsorship and paying artists. Laura Harris attended and found pockets of insight in an incohesive day.
Under the banner ‘Whose Art? Our Art!’, this year’s engage International Conference in Liverpool explored gallery education through the lens of art activism with two days of speeches, discussion and debate. Laura Harris reports from the city.
With a media storm of interest, Banksy’s Dismaland opened in Weston-super-Mare on Friday. After paying a visit to the self-styled ‘bemusement park’, Laura Harris suggests we look past the witty one-liners to explore this aesthetically overwhelming, politically astute art experience.