Główna zawartość
Kurs: Specjalne zagadnienia z historii sztuki > Rozdział 1
Lekcja 4: Praca, wymiana towarowa i technologia- “What a fascinating modern age we live in”
- The triangle trade and the colonial table, sugar, tea, and slavery
- The triangle trade and the colonial table, sugar, tea, and slavery: learning resources
- Inventing America, Colt's Experimental Pocket Pistol
- Inventing America, Colt's Experimental Pocket Pistol: learning resources
- Carving out a life after slavery
- Carving out a life after slavery: learning resources
- Heroes of modern surgery: Eakins' Dr. Gross and Dr. Agnew
- Heroes of modern surgery, Eakins' Dr. Gross and Dr. Agnew: learning resources
- Norman Rockwell, Rosie the Riveter
- Norman Rockwell, Rosie the Riveter: learning resources
- Romare Bearden, Factory Workers
- Romare Bearden, Factory Workers: learning resources
- A mine disaster and those left behind: Ben Shahn's Miner's Wives
- A mine disaster and those left behind, Ben Shahn’s Miners’ Wives: learning resources
- Mass Consumerism, Warhol, and 1960s America
- Mass Consumerism, Warhol, and 1960s America: learning resources
- Preserving Nam June Paik's Electronic Superhighway
- Nam June Paik, Elektroniczna autostrada: Kontynentalne Stany Zjednoczone, Alaska, Hawaje
- Mierle Laderman Ukeles, Cleaning the museum—maintenance art
- Cleaning the museum—maintenance art: learning resources
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Cleaning the museum—maintenance art: learning resources
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Najważniejsze kwestie
- Ukeles’s public action called attention to the “invisible” labor often performed by women and the working class. She created a political body of art that focused on important, but undervalued, tasks. In this particular series of actions at the Wadsworth Atheneum, she highlighted the labor of maintenance and cleaning that is necessary to cultural spaces like the museum, but goes unnoticed and is often underpaid and undervalued.
- In the 1960s and 1970s, institutional critique emerged as an artistic strategy that criticized the power structures and cultural hierarchies of spaces like the museum. Engaging with the inequities and injustices of how we think about maintenance work, Ukeles created a new area of art-making, which she called “Maintenance Art.” This included the repetitive, and often thankless work of cleaning and repair that is essential to the functioning of domestic and public spaces.
- In creating her manifesto and performing public actions, Ukeles moved away from the role of the artist as a maker of objects in favor of producing more conceptual projects. This built on the example of Marcel Duchamp, whose readymade sculptures were based on the idea of taking an existing object, changing the way we look at it, and recontextualizing it as art. By making it visible through performance and photography, Ukeles does the same for maintenance work, and in the process hopes to change the way we think about this type of labor.
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Do przemyślenia
In her work Touch Sanitation, Ukeles spent a year shaking the hand of every employee of the New York City Sanitation Department, meticulously documenting her process along the way. Can art be an action rather than an object? Do you see this project as art, and what are your reasons for your position?
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