{"id":{"repo_id":"cape-town","oai_identifier":"oai:open.uct.ac.za:11427/8204"},"canonical_url":"https://search.dev.ndltd.org/etd/cape-town/oai:open.uct.ac.za:11427/8204","repository":{"repo_id":"cape-town","name":"University of Cape Town","base_url":"https://open.uct.ac.za/oai/request"},"display":{"title":"Filling in the gaps","abstract":"In 2007, Brian O'Doherty's words still apply. The art object and its context are intrinsically intertwined. A variety of contexts make up the mechanisms of the contemporary art world. From established organizations to more informal platforms, each performs a necessary function. Representation in a national museum or a respected public collection bestows a measure of credibility on a piece. Outside of austere exhibition rooms and refined gallery spaces, more informal arenas have their own authority. An independent artistic intervention on a busy pavement or a remote beach can suggest an anti-institutionalist stance. The artist is not bound by the conventions of more traditional structures. Yet, a great deal of interventionist work ultimately makes its way into galleries and collections in the form of residue and documentation. These become marketable and collectable products. Similarly, reputed organizations sometimes orchestrate potentially disruptive insertions into the public sphere in the form of performances or temporary installations. Even when they appear to be at odds, the different forums in which artworks exist rely on each other.","abstract_html":"In 2007, Brian O'Doherty's words still apply. The art object and its context are intrinsically intertwined. A variety of contexts make up the mechanisms of the contemporary art world. From established organizations to more informal platforms, each performs a necessary function. Representation in a national museum or a respected public collection bestows a measure of credibility on a piece. Outside of austere exhibition rooms and refined gallery spaces, more informal arenas have their own authority. An independent artistic intervention on a busy pavement or a remote beach can suggest an anti-institutionalist stance. The artist is not bound by the conventions of more traditional structures. Yet, a great deal of interventionist work ultimately makes its way into galleries and collections in the form of residue and documentation. These become marketable and collectable products. Similarly, reputed organizations sometimes orchestrate potentially disruptive insertions into the public sphere in the form of performances or temporary installations. Even when they appear to be at odds, the different forums in which artworks exist rely on each other.","abstract_has_math":false,"creators":["Sacks, Ruth"],"institution":"Michaelis School of Fine Art","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Alexander, Jane","Mackenny, Virginia"],"committee_chairs":[],"committee_members":[],"year":2007,"date_issued":"2007","date_published":"2007","updated_at":"2026-07-22T22:23:41Z","subjects":[],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/11427/8204","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Alexander, Jane","Mackenny, Virginia"]},{"key":"dc:creator","label":"Author","values":["Sacks, Ruth"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2014-10-06T12:10:52Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2014-10-06T12:10:52Z"]},{"key":"dc:date.issued","label":"Date","values":["2007"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Michaelis School of Fine Art"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Cape Town"]},{"key":"dc:type","label":"Dc Type","values":["Master Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Masters"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["MFA"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/11427/8204"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Includes bibliographical references (p. 120-126)."]},{"key":"dc:description.abstract","label":"Abstract","values":["In 2007, Brian O'Doherty's words still apply. 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