Found around 80 results for CORRIS in Art Monthly.
Art Cannot Be Taught, 2001). The latter text is more or less aimed at students, a cohort whose views about such matters should be centre stage in any analysis or commentary on art education. MICHAEL CORRIS Dallas, Texas Dave Beech responds: I have tried to address the current crisis in art education by providing a historical map of its coming into being. Corris wants confession and complicity. He
to capitalism. While philosophy played its part in this revolution, philosophy alone did not realise the bourgeois reform of the aristocratic apparatus of cultural production and reproduction. What Corris fails to grasp is that the transition from considering painting, sculpture and music among the arts to the concept of art in general was accomplished by defining art for the first time through the
Hampton 31 BOOKS Round-up: Art, Politics and Play Peter Suchin 32 FILM Mareike Bernien & Kerstin Schroedinger: Rainbow’s Gravity Colin Perry 33 RESPONSE & REPLY On Teaching the Unteachable Michael Corris Dave Beech 35 REPORTS Global Art Forum 2014: Meanwhile … History* JJ Charlesworth 36 Neon Foundation, Athens Chris Fite-Wassilak 37 ARTLAW Small Claims Henry Lydiate 38 LISTINGS Art Monthly 4th
.co.uk COVER Benedict Drew GLISS, Phrase II 2012 detail 01 INTERVIEW Protocol Mohamed Bourouissa interviewed by Anna Dezeuze 05 FEATURES The Un-artist What do artists need to know? asks Michael Corris 09 Practice Practice is not a counterfeit term argues Morgan Quaintance 14 COMMENT EDITORIAL LETTERS 16 NEWS ARTNOTES 19 OBITUARIES 20 PROFILE Sarah Pierce Chris Fite-Wassilak 22 REVIEWS
Features 01 | Mark Prince on the xxxxx What do artists need to know? asks Michael Corris The Un-artist Allan Kaprow Yard 1961 performance by Lucas Samaras and Allan Kaprow at Martha Jackson Gallery New York J UN 12 | ART MONTHLY | 357 Allan Kaprow was inclined to state the obvious to
A common theme among many interviews is the notion of building a community through collective production. Several artists, including Christian Jankowski, Jon Thompson, John Armleder, Michael Corris and John Hilliard, find it most productive to work in collaboration with their students on an actual project rather than to teach individual skills such as painting or sculpture. Vanalyne Green, who