John Kaldor Art Projects 1969-2012
The rise of the private art foundation: John Kaldor Art Projects 1969-2012 Rebecca Coates M.A. (Leicester), B.Litt. (Hons), B.A. (Melb) A thesis submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy. April 2013 School of Culture and Communication The University of Melbourne Produced on archival quality paper. 2 Image removed due to copyright Martin Boyce, We are shipwrecked and landlocked (2008) Left: Martin Boyce, right: John Kaldor Installation view, Old Melbourne Gaol, RMIT University, Melbourne Photo: Adam Free Forbat (ed), 40 Years, Kaldor Public Art Projects, 2009, p. 252. iii 4 Declaration This is to certify that (1) the thesis comprises only my original work towards the PhD, (2) due acknowledgement has been made in the text to all other material used, (3) the thesis is less than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Rebecca Coates ………………………… April 2013 iv Abstract What role do private foundations play in a global contemporary art world? Not-for-profit art foundations presenting site-specific temporary art installations have become established institutions in their own right. This thesis traces the development of these foundations from the 1970s, placing their role within the context of the evolution of contemporary art institutions. My research focuses on Kaldor Public Art Projects as one of the earliest exponents of this form of patronage and support for contemporary art. The thesis examines the history and impact of Kaldor Public Art Projects, from Christo and Jeanne-Claude’s Wrapped Coast (1969), to Thomas Demand’s The Dailies (2012).
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