Professional Practice 2
What is the white cube? â€œThe aesthetic was introduced in the early twentieth century in response to the increasing abstraction of modern art. With an emphasis on colour and light, artists from groups like De Stijl and the Bauhaus preferred to exhibit their works against white walls in order to minimise distraction.â€?
As time goes on ideas on art have changed. What was once created by cutting edge artists in rebellion to the rest of the art world is now ubiquitous with wealth and inaccessibility. Though the white cube has historical importance and aesthetic reasons, it also creates an environment that is daunting and inaccessible to many.
Why we want to step away from it? In this age of Hyperconsumerism and commercialism the act of creating alternative spaces is subversive and imperative to keeping culture alive. Alternative art spaces provide a place that art can thrive without the constraints of consumerism. Many of these alternative art spaces also give a platform to artists who do not conform to the ‘white cube’ art world and are actively breaking the rules of what we consider ‘Art’ is.
Who are we?
We are a collective that are striving to showcase and discuss art that is created both nationally and internationally. Focusing on traditional art and illustration as well as artists who break the mould and create unconventional and subversive art.
Having artwork displayed virtually makes it accessible to a wider audience. Many who live in economically and culturally deprive places do not have access to art. Many feels like museums and galleries are not â€œfor people like themâ€? and also do not see themselves represented in the work.
Our goal is to break out of the confines of a physical exhibition and to create a way of showcasing artists from various economic backgrounds, cultures and specialisms. A way of democratizing the exhibition space and challenging perceptions of what art is and how it should be exhibited. The goal of creating a more diverse platform for the arts. by Joe Van Wetering
The outcomes of this includes a digital publication and a website which will be accessible. Access to information is no longer restricted to those who can afford travel and museum visits, but is available to anyone who has access to a computer with an Internet connection.
Financial considerations Due to it being a virtual exhibition and publication, costs are minor. There are no production costs such as rent, insurance, shipping and installation.
The minimal costs that do come up such as monetising our time can be raised by sites like Gofundme and by applying for grants from organisations such as Arts Council (National Lottery) who donate grants of ÂŁ1,000 - ÂŁ100,000 to support a wide variety of arts-related activities, from dance to visual arts. This will be particularly important for us as we are aiming to showcase artists from various economic backgrounds. http://www.artscouncil.org.uk /funding/grants-arts
Andrea De Santis
Structure of collective The collective is communally run with members completing the tasks that best suits their skill set. The main tasks are research, communication, finances, writing, design and website development. These tasks are divided evenly and are discussed both by phone and email. Yin Weihung
We will promote our virtual publication and exhibition by social media (Instagram, Facebook, twitter) email and when we receive funding by marquee text and display advertisements.
Unlike physical exhibitions our online exhibition is not restricted by time or place.
Our location is a virtual exhibition and a PDF downloadable magazine. PAPERBEATSSCISSORS