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dc.contributor.authorCrouch, David
dc.date.accessioned2016-10-18T14:26:53Z
dc.date.available2016-10-18T14:26:53Z
dc.date.issued2014
dc.identifier.citationCrouch, D. An Ecology of Values: critically interpreting John Newling's art 2014, 22 (2):361 cultural geographiesen
dc.identifier.issn1474-4740
dc.identifier.issn1477-0881
dc.identifier.doi10.1177/1474474014539913
dc.identifier.urihttp://hdl.handle.net/10545/620643
dc.description.abstractIn this article I articulate the cultural geographies of performing potential spaces of a gallery exhibition. I offer my participative, affective relations with the artwork, exploring the fluidity and openness of the spaces in which I found objects that were mutual, commingling and dissonant. In doing so, it is necessary to let the work speak, but not to leave it there. Nor is it to appraise, close-up the arrangement or individual elements of the show in an objective aesthetic. Rather it is to acknowledge circling atmospheres emerging in my cultural geography of practice. New spaces emerge in the practice, through my play with the spaces of the objects as set out, and through my own responses in an affective and productive relational engagement with them, singly and severally.
dc.language.isoenen
dc.relation.urlhttp://cgj.sagepub.com/cgi/doi/10.1177/1474474014539913en
dc.rightsArchived with thanks to cultural geographiesen
dc.subjectAffecten
dc.subjectArtworken
dc.subjectEcologyen
dc.subjectFeelingen
dc.subjectGeographiesen
dc.subjectPerformativeen
dc.subjectSpaceen
dc.titleAn Ecology of Values: critically interpreting John Newling's arten
dc.typeArticleen
dc.contributor.departmentUniversity of Derbyen
dc.identifier.journalcultural geographiesen
html.description.abstractIn this article I articulate the cultural geographies of performing potential spaces of a gallery exhibition. I offer my participative, affective relations with the artwork, exploring the fluidity and openness of the spaces in which I found objects that were mutual, commingling and dissonant. In doing so, it is necessary to let the work speak, but not to leave it there. Nor is it to appraise, close-up the arrangement or individual elements of the show in an objective aesthetic. Rather it is to acknowledge circling atmospheres emerging in my cultural geography of practice. New spaces emerge in the practice, through my play with the spaces of the objects as set out, and through my own responses in an affective and productive relational engagement with them, singly and severally.


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