KATHRYN SHRIVER
  • Home
  • Work
    • 2022 TULIPS
    • 2022 THE HOUSE PROTECTS THE DREAMER
    • 2021-22 I SPENT SOME TIME AT HOME
    • 2020-21 LOVE LETTERS FROM THE LAST DAYS OF LUXURY
    • 2020-21 COVID TAPESTRIES
    • 2018-21 AND THE FATES PUT DOWN THEIR HANDS
    • 2018-19
    • 2017 GLAMOR & MIMICRY
    • 2016-17 NON-FIXIONS
    • 2016 DOCUMENTATION
    • 2015 THE MYTH OF THE PHRASEMAKER'S PARROT
    • 2014 MEDITATIONS
    • 2014-16 DRAWING
    • 2014 THIS IS NOT FOREVER
    • 2013-14 BUT MOST OF ALL, I WILL NOT DIE
    • 2011 MATERIAL PAINTINGS
  • Journals
    • SUMMER 2014
    • SPRING 2014
    • FALL 2013
  • Writing & Talks
  • Contact / About
DOCUMENTATION
Picture
Documentation of art works has historically served first as a referent to the work itself, and then as a secondary artwork itself, reified by the white cubes of the gallery system and absorbed and laundered by the art market. The careful anti-aesthetic of Conceptual Art documentation, formulated to undermine artistic consideration and valuation of the stand-in for the actual artwork (idea, event, action, etc.) has become a recognizable anti-aesthetic aesthetic, contributing to the mythological aura of a particular point in art/cultural history.  

When the stand-in and the work itself sit in competition for primary and secondary conceptual value and the roles of importance/unimportance are conflated, when an anti-aesthetic is emulated, the Work of Art is continually deferred, and we are left, unsatisfied, between the documents and the document, floating around in a pool of images, stand-ins, artifacts, references, actions, images, and objects, all pointing back at one another in a soup of roles and values. 
​<  >
Proudly powered by Weebly