relational art
relational aesthetics

In Relational art, the audience is envisaged as a community.

The artist can be more accurately viewed as the "catalyst" in relational art, rather than being at the centre.

It draws upon several artistic influences such as conceptual art and relational art.

Rather than the artwork being an encounter between a viewer and an object, relational art produces intersubjective encounters.

The project is a part of the Institutional Critique mouvement, but also relies on relational art practices.

He is often associated with the artists included the 1996 exhibit Traffic, which first introduced the term Relational Art.

She has promoted French contemporary art internationally, in particular many of those associated with Relational Art.

Bourriaud explores this notion of relational aesthetics through examples of what he calls relational art.

Intentional Art is an artistic practice that remsebles relational art, conceptual art and Activism.

"Visualizing Relations: Superflex's Relational Art in the Cyberspace Geography."

Before Jeff Howe's article coined the term "crowdsourcing," Grover states that the original term was "relational art."

However, Bishop, also asks "if relational art produces human relations, then the next logical question to ask is what types of relations are being produced, for whom, and why?"

This discourse between artwork and viewer complements the positions of interactive art (responding to the participant) as well as relational art (focusing on inter-personal relationships).

The University of New Mexico's College of Fine Arts links its fine arts program with the ideas of relational art.

Relational art or relational aesthetics is a mode or tendency in fine art practice originally observed and highlighted by French art critic Nicolas Bourriaud.

The exhibition was curated by Nicolas Bourriaud in order to showcase the tendency that he identified as Relational Aesthetics or Relational Art.

Writer and director Ben Lewis has suggested that relational art is the new "ism", in analogue with "ism"s of earlier periods such as impressionism, expressionism and cubism.

Tiravanija's artwork, which explores the social role of the artist, has been regularly cited by French curator Nicolas Bourriaud as exemplary of his conception of relational art.

JR's preoccupations reflect a deeper set of contemporary artistic concerns: how to produce work out of human relationships, or "relational art" -conceptual pieces that blur the distinction between artist, subject, and spectator into a social puzzle.

Artwork that is interactive and participatory may be referred to as "participatory art;" it may also be categorized under terms including relational art, social practice, community art, and new genre public art.

Hybert is one of the artists that Nicolas Bourriaud included in his account of so-called relational art which is to say art that engages with people and everyday life (Bourriaud 2002).

According to Bourriaud, relational art encompasses "a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space."

In 2002, Bourriaud curated an exhibition at the San Francisco Art Institute, Touch: Relational Art from the 1990s to Now, "an exploration of the interactive works of a new generation of artists."

One of the first attempts to analyze and categorize art from the 1990s, the idea of Relational Art was developed by Nicolas Bourriaud in 1998 in his book Esthétique relationnelle (Relational Aesthetics).

Since then we have had number of other trends in art, colour field painting, pop art, fluxus, minimalism, op art, the situationists, land art, the pictures generation, neo expressionism, the YBAs, relational art etc. etc. .

Writing in his 1998 book Relational Aesthetics, Nicolas Bourriaud said, "video, for example, is nowadays becoming a predominant medium.

Bourriaud is best known among English speakers for his publications Relational Aesthetics (1998/English version 2002) and Postproduction (2001).

Manetas was categorized as one of artists of that movement in the catalogue of the Traffic show, and later, in Bourriaud's book Relational Aesthetics.

Nicolas Bourriaud, Relational Aesthetics (Dijon: Les Presses du Réel, 2002, orig.

"Streamside Day Follies" is a prime example of the people-oriented, pop-culture-conscious but still theory-driven branch of late Conceptualism that is sometimes called Relational Aesthetics, a term made prominent by the young French critic Nicolas Bourriaud.

In his 2002 book Postproduction: Culture as Screenplay: How Art Reprograms the World, Bourriaud describes Relational Aesthetics as a book addressing works that take as their point of departure the changing mental space opened by the internet.

Instead vaguely similar strategies were labeled as Models of Participatory Practice in 1998 by Christian Kravagna's attempt to define the field or the later appearing and quite moderate Relational Art based on the 2002 book Relational Aesthetics by Nicolas Bourriaud.

In the Winter 2006 edition of October (No. 115) Gillick's response to Claire Bishop's October article "Antagonism and Relational Aesthetics," was published as "Contingent Factors: A Response to Claire Bishop's 'Antagonism and Relational Aesthetics'."