Papers by Martin Patrick
The Performing Observer: Essays on Contemporary Art, Performance, and Photography, 2022
This collection of short, critical writings on contemporary art, performance, and photography ana... more This collection of short, critical writings on contemporary art, performance, and photography analyzes a wide range of global practitioners, from emerging to established artists. The result is a well-informed, jargon-free survey of significant developments in contemporary art and culture over the past two decades.
Bookmarks Related papers MentionsView impact
OnCurating, 2021
Although the Fluxus art (non-)movement is often read as a historical phenomenon, the breadth of i... more Although the Fluxus art (non-)movement is often read as a historical phenomenon, the breadth of its innovations and complexities actively thwarts linear and circumscribed viewpoints. The notion of Fluxus incorporates contradiction in challenging and enduringly generative ways. More than five decades after its emergence, this special issue of OnCurating entitled Fluxus Perspectives seeks to re-examine the influence, roles, and effects of Fluxus via a wide range of scholarly perspectives. The editors asked notable writers from different locations, generations, and viewpoints, all of whom having written about Fluxus before, to offer their thoughts on its significance, particularly in relation to contemporary artmaking and strategies of curating today.
Edited by
Martin Patrick and Dorothee Richter
Contributions by
Simon Anderson, Jordan Carter, Kevin Concannon, Ken Friedman, Natilee Harren, John Held, Jr., Hannah B Higgins, Hanna B. Hölling, Natasha Lushetich, Billie Maciunas, Peter van der Meijden, Ann Noël, Martin Patrick, Dorothee Richter, Henar Rivière, Julia Robinson, Owen F. Smith, Weronika Trojanska, Emmett Williams
Bookmarks Related papers MentionsView impact
Drain, 2021
This essay focuses on contemporary art’s increasing incorporation of so-called ‘social practices’... more This essay focuses on contemporary art’s increasing incorporation of so-called ‘social practices’ over the past two decades. How are we to regard this moment as social practice has been commented upon more widely, disseminated within critical and curatorial venues, and becomes problematic and challenging in so many respects? What happens when a micro-scaled process-based work is subsumed into the global art economy? How can collectives take advantage of ‘group mind’? What are the distinguishing factors between creative and symbolic representations and ‘actual’ activism? How do social practices function within contemporary curatorial culture? How does an emphasis upon collectivism and participation effect, strain, and potentially expand traditional notions of creative authorship?
Bookmarks Related papers MentionsView impact
OnCurating, 2021
A discussion of the relations between Buddhist philosophy and Fluxus artworks as enacted in works... more A discussion of the relations between Buddhist philosophy and Fluxus artworks as enacted in works by artists including Geoff Hendricks, Nam June Paik, Robert Filliou, and Alison Knowles.
Bookmarks Related papers MentionsView impact
Drain, 2021
Drain Magazine is pleased to announce its new issue Social / Affects edited by Martin Patrick, Ma... more Drain Magazine is pleased to announce its new issue Social / Affects edited by Martin Patrick, Massey University, Wellington, Aotearoa New Zealand. Today there are manifold ways that artists and writers are creating generative responses to the notion of
“the social”, including activist initiatives, satirical interventions, campaigns for justice, as well as returns to
DIY and related notions of the smaller in scale. The current issue of Drain is less overtly concerned with
the objecthood of art, but rather what one might call the ‘after-life’ of the artwork, dispersed through
social and participatory practices into wider political, social, and material ecologies.
Bookmarks Related papers MentionsView impact
Third Text , 2001
The 1960s were a period defined by enormous changes throughout the visual arts in Poland. Early i... more The 1960s were a period defined by enormous changes throughout the visual arts in Poland. Early in the decade a neo-Constructivist identity began to dominate the area of avant-garde painting, largely displacing late 1950s informel, in part to repudiate the period of Socialist Realism (1948-55), and reaffirm a continuity with the 'authentic' example of the interwar Avant-garde. In this article I would like to focus more closely on the new proliferation of unusual concrete poetry, textual projects, and intermedial works, which then proceeded to develop from the midst of a context which until that point had been defined more by abstract painting than anything else
Bookmarks Related papers MentionsView impact
Centropa: A Journal of Central European Architecture and Related Arts, 2003
A survey of Polish “author’s galleries” (galerie autorskie) which created situations during the C... more A survey of Polish “author’s galleries” (galerie autorskie) which created situations during the Cold War period for art exhibitions operating on a micro-scale, organized by artists and critics, and generally attempting to avert governmental intrusion. Galleries such as odNOWA (Poznan), Galerie EL (Elblag), Galeria Foksal (Warsaw), Galeria Pod Mona Liza (Wroclaw), as well as later efforts such as Construction in Process (Lodz), Akumulatory 2 (Poznan), Piwna 20/26 (Warsaw) and Galeria Potocka (Krakow) are discussed in terms of their impact on innovative art practices in Poland.
Bookmarks Related papers MentionsView impact
Patrick examines artworks by three contemporary artists Catherine Bagnall (NZ), David Cross (AUS)... more Patrick examines artworks by three contemporary artists Catherine Bagnall (NZ), David Cross (AUS) and Shannon Te Ao (NZ) who work within innovative performative practices that incorporate masquerade, disguise, ritual and play. Key to the discussion are theoretical notions of animism, animality, and posthumanism as posited by such writers as Félix Guattari, Brian Massumi and Amelia Jones. Patrick argues for a dissolve of fixed and normative characterizations of a unified self in favour of more elusive, manifold readings of subjectivity, which are becoming increasingly prominent in the fields of visual arts and performance.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Books by Martin Patrick
Martin Patrick explores the ways in which contemporary artists across media continue to reinvent ... more Martin Patrick explores the ways in which contemporary artists across media continue to reinvent art that straddles both public and private spheres. Examining the impact of various art movements on notions of performance, authorship, and identity, Across the Art/Life Divide argues that the most defining feature of contemporary art is the ongoing interest of artists in the problematic relationship between art and life. Looking at underexamined forms, such as stand-up comedy and sketch shows, alongside more traditional artistic media, he situates the work of a wide range of contemporary artists to ask: To what extent are artists presenting themselves? And does the portrayal of the “self” in art necessarily constitute authenticity? By dissecting the meta-conditions and contexts surrounding the production of art, Across the Art/Life Divide examines how ordinary, everyday life is transformed into art.
Bookmarks Related papers MentionsView impact
Fluxus and Intermedia by Martin Patrick
On Curating, 2021
Although the Fluxus art (non-)movement is often read as a historical phenomenon, the breadth of i... more Although the Fluxus art (non-)movement is often read as a historical phenomenon, the breadth of its innovations and complexities actively thwarts linear and circumscribed viewpoints. The notion of Fluxus incorporates contradiction in challenging and enduringly generative ways. More than five decades after its emergence, this special issue of OnCurating entitled Fluxus Perspectives seeks to re-examine the influence, roles, and effects of Fluxus via a wide range of scholarly perspectives. The editors Martin Patrick and Dorothee Richter asked notable writers from different locations, generations, and viewpoints, all of whom having written about Fluxus before, to offer their thoughts on its significance, particularly in relation to contemporary art. With its emphasis upon events, festivals, and exhibitions, Fluxus may also be interpreted as an important, prescient forerunner of contemporary strategies of curating.
Contributions by Simon Anderson, Jordan Carter, Kevin Concannon, Ken Friedman, Natilee Harren, John Held, Jr., Hannah B Higgins, Hanna B. Hölling, Natasha Lushetich, Billie Maciunas, Peter van der Meijden, Ann Noël, Martin Patrick, Dorothee Richter, Henar Rivière, Julia Robinson, Owen F. Smith, Weronika Trojanska, and Emmett Williams.
Bookmarks Related papers MentionsView impact
Uploads
Papers by Martin Patrick
Edited by
Martin Patrick and Dorothee Richter
Contributions by
Simon Anderson, Jordan Carter, Kevin Concannon, Ken Friedman, Natilee Harren, John Held, Jr., Hannah B Higgins, Hanna B. Hölling, Natasha Lushetich, Billie Maciunas, Peter van der Meijden, Ann Noël, Martin Patrick, Dorothee Richter, Henar Rivière, Julia Robinson, Owen F. Smith, Weronika Trojanska, Emmett Williams
“the social”, including activist initiatives, satirical interventions, campaigns for justice, as well as returns to
DIY and related notions of the smaller in scale. The current issue of Drain is less overtly concerned with
the objecthood of art, but rather what one might call the ‘after-life’ of the artwork, dispersed through
social and participatory practices into wider political, social, and material ecologies.
Books by Martin Patrick
Fluxus and Intermedia by Martin Patrick
Contributions by Simon Anderson, Jordan Carter, Kevin Concannon, Ken Friedman, Natilee Harren, John Held, Jr., Hannah B Higgins, Hanna B. Hölling, Natasha Lushetich, Billie Maciunas, Peter van der Meijden, Ann Noël, Martin Patrick, Dorothee Richter, Henar Rivière, Julia Robinson, Owen F. Smith, Weronika Trojanska, and Emmett Williams.
Edited by
Martin Patrick and Dorothee Richter
Contributions by
Simon Anderson, Jordan Carter, Kevin Concannon, Ken Friedman, Natilee Harren, John Held, Jr., Hannah B Higgins, Hanna B. Hölling, Natasha Lushetich, Billie Maciunas, Peter van der Meijden, Ann Noël, Martin Patrick, Dorothee Richter, Henar Rivière, Julia Robinson, Owen F. Smith, Weronika Trojanska, Emmett Williams
“the social”, including activist initiatives, satirical interventions, campaigns for justice, as well as returns to
DIY and related notions of the smaller in scale. The current issue of Drain is less overtly concerned with
the objecthood of art, but rather what one might call the ‘after-life’ of the artwork, dispersed through
social and participatory practices into wider political, social, and material ecologies.
Contributions by Simon Anderson, Jordan Carter, Kevin Concannon, Ken Friedman, Natilee Harren, John Held, Jr., Hannah B Higgins, Hanna B. Hölling, Natasha Lushetich, Billie Maciunas, Peter van der Meijden, Ann Noël, Martin Patrick, Dorothee Richter, Henar Rivière, Julia Robinson, Owen F. Smith, Weronika Trojanska, and Emmett Williams.