Commodification of art versus creativity: The Antagonist Art Movement in the expanding arts scene of New York City

Trumble, R.E.; Riemsdijk, Micheline van

doi:10.1016/j.ccs.2016.06.003

Cited by 5 publications

(9 citation statements)

References 27 publications

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“…This showed how the town/city (depending on perspective), in the sense of Lefebvre (1996), functioned both as an art object and spatial practice. Critical creative cities scholars, such as Nakagawa (2010) and Trumble and Riemsdijk (2016), discussed the tensions arising in how cities attempt to influence the practices of antagonist artists. The Dismaland case presented the reversed.…”

Section: Conclusion and Discussionmentioning

confidence: 99%

“…Cite the original article only. 5 (un)deliberate exploitation of local communities in participatory art practices, which might be complicit in sustaining unequal power relationships and the unfettered market demands of creative industries (see also Trumble & van Riemsdijk, 2016). Following this critique, privileged spectatorship of mostly well-educated and cosmopolitan consumers of the art world would then be retained, for whom the artistic representation of injustice may well become an exclusive experiential realm of pleasure (Kester, 2011in Kent & Prasetyo, 2016.…”

Section: Introductionmentioning

confidence: 99%

“…Yet, there persists an ambivalent interdependency between antagonistic art practice and the art market, as Trumble and Riemsdijk (2016) imparted: Òantagonistic artists never completely avoid the demands of the art market, yet through community, they keep many of the market demands at bay while producing artÓ (p. 159). New research could shed further light on such (conflicting) power plays and how they may potentially evacuate from predominant top-down urban art practice.…”

mentioning

confidence: 99%

“…Citizen-led and hence communitycentered revitalization, then, would provide more democratic support within local communities for the creation of a major temporary art event in their midst (see Grodach, 2013;Koizumi, 2016). Art practice with such wider public rapport might also arrive at a stronger position to, as debated across urban literature, enhance longer-term senses of spatial ownership among citizens (see Vickery, 2011), transform tourist attractions into community resources (Morpeth & Long, 2016), and strengthen participation agendas of urban policy (Trumble & van Riemsdijk, 2016).…”

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confidence: 99%

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Regenerating a coastal town through art: Dismaland and the (l)imitations of antagonistic art practice in the city

Zebracki

2018

Cities

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Coastal cities have increasingly welcomed initiatives for producing temporary urban art spaces to lure tourists and revitalize the local economy. This article examines the under-explored contested relationships between a major temporary art event and social (dis)engagement in the context of coastal urban regeneration. During the pop-up art event Dismaland (2015), led by the reputed graffiti artist Banksy and company, the coastal resort of Weston-super-Mare in England experienced an upsurge of international visitors. Banksy envisaged this ÒBemusement ParkÓ, situated in an abandoned lido, as an antagonist twist of Disneyland and the commercial modus operandus of theme parks. Drawing on discourse analysis of expert and public perspectives and autoethnographic experience, this article challenges the experienced extent of antagonistic art practice in juxtaposition to the formal discourse of creators and urban policymakers. The examination of the event's artistic, behavioral, spatial and temporal frameworks shows how it ambiguously navigated between authentic and engineered trajectories of involving its target audiences. The creators' anarchist plea for radical change wasambivalently met with appreciation of an urban art space for serious contemplation as well as a perceived lack of local community investment Ð the latter rendering Dismaland an urban Ôart colonyÕ that fostered an elitist global art market rather than urban-citizen-led participation. The in-depth case study concludes that greater attention, both in urban policy and scholarship, is needed to the implications of the production of temporary urban art spaces for immediate inclusive engagement with

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Section: Conclusion and Discussionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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confidence: 99%

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confidence: 99%

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Regenerating a coastal town through art: Dismaland and the (l)imitations of antagonistic art practice in the city

Zebracki

2018

Cities

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“…A strategic approach should be implemented while selecting a companion for partnership. Artists should base their choice on mutual recognition of values, respect, and above all else, that the art project to be created in partnership should satisfy all the criteria that define a true piece of art If these terms are observed, the product would have value (Trumble & van Riemsdijk, 2016).…”

Section: Problem Statementmentioning

confidence: 99%