LEADER 00869nam a2200229 i 4500 001 991003566169707536 008 080418s2008 it 000 0 ita d 020 $a9788875893071 035 $ab13716608-39ule_inst 040 $aDip.to Studi Giuridici$bita 082 0 $a345.4504 100 1 $aArena, Maurizio$0269153 245 13$aLa cause di giustificazione :$bstrategie difensive e casistica giurisprudenziale /$cMaurizio Arena 260 $aMatelica :$bHalley,$cstampa 2008 300 $a286 p. ;$c21 cm 440 0$aControversie & soluzioni ;$v29 907 $a.b13716608$b28-01-14$c18-04-08 912 $a991003566169707536 945 $aLE027 345.04 ARE01.01$g1$i2027000183654$lle027$o-$pE26.56$q-$rl$s- $t0$u6$v2$w6$x0$y.i14765780$z30-05-08 996 $aCause di giustificazione$91230471 997 $aUNISALENTO 998 $ale027$b18-04-08$cm$da $e-$fita$git $h3$i0 LEADER 03706oam 2200649I 450 001 9910790418003321 005 20190503073415.0 010 $a0-262-53356-1 010 $a0-262-31693-5 010 $a0-262-31692-7 035 $a(CKB)2550000001115755 035 $a(EBL)3339666 035 $a(SSID)ssj0000985262 035 $a(PQKBManifestationID)12338241 035 $a(PQKBTitleCode)TC0000985262 035 $a(PQKBWorkID)10928810 035 $a(PQKB)11477878 035 $a(MiAaPQ)EBC3339666 035 $a(OCoLC)857769387$z(OCoLC)865577646$z(OCoLC)939263832$z(OCoLC)941697431$z(OCoLC)961535583$z(OCoLC)962677035$z(OCoLC)1055405014$z(OCoLC)1066450999$z(OCoLC)1081294465 035 $a(OCoLC-P)857769387 035 $a(MaCbMITP)8504 035 $a(Au-PeEL)EBL3339666 035 $a(CaPaEBR)ebr10756165 035 $a(CaONFJC)MIL516090 035 $a(OCoLC)941697431 035 $a(EXLCZ)992550000001115755 100 $a20130909d2013 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aYour everyday art world /$fLane Relyea 210 1$aCambridge, MA :$cMIT Press,$d2013. 210 4$dİ2013 215 $a1 online resource (258 p.) 300 $aDescription based upon print version of record. 311 $a0-262-01923-X 311 $a1-299-84839-7 320 $aIncludes bibliographical references and index. 327 $aContents; Preface; Acknowledgments; 1 Welcome to Yourspace; 2 Glasgow, Los Angeles, New York, Cologne; 3 Ruins; Notes; Index 330 $aOver the past 20 years, the network has come to dominate the art world, affecting not just interaction among art professionals but the very makeup of the art object itself. The hierarchical and restrictive structure of the museum has been replaced by temporary projects scattered across the globe, staffed by free agents hired on short-term contracts, viewed by spectators defined by their predisposition to participate and make connections. In this book, Lane Relyea tries to make sense of these changes, describing a general organizational shift in the art world that affects not only material infrastructures but also conceptual categories and the construction of meaning.

Examining art practice, exhibition strategies, art criticism and graduate education, Relyea aligns the transformation of the art world with the advent of globalization and the neoliberal economy. He analyzes the new networked, participatory art world -- hailed by some as inherently democratic -- in terms of the pressures of part-time temp work in a service economy, the calculated stockpiling of business contacts and the anxious duty of being a "team player" at work. Relyea calls attention to certain networked forms of art -- including relational aesthetics, multiple or fictive artist identities and bricolaged objects -- that can be seen to oppose the values of neoliberalism rather than romanticizing and idealizing them. Relyea offers a powerful answer to the claim that the interlocking functions of the network -- each act of communicating, of connecting, or practice -- are without political content. 606 $aArt and society$xHistory$y20th century 606 $aArt and society$xHistory$y21st century 606 $aArt and society 610 $aARTS/General 615 0$aArt and society$xHistory 615 0$aArt and society$xHistory 615 0$aArt and society. 676 $a709.05/1 700 $aRelyea$b Lane$f1960-$01468885 801 0$bOCoLC-P 801 1$bOCoLC-P 906 $aBOOK 912 $a9910790418003321 996 $aYour everyday art world$93680249 997 $aUNINA