Description

Philippe Thomas' entrepreneurial experiment questions the distinction between authorship and ownership French artist Philippe Thomas (1951–95) never intended to make a name for himself; rather, he was much more invested in the artist’s ability to disappear behind his work. In 1987 he created readymades belong to everyone®, a communication and events agency that mainly provided posters and signboards for different advertising campaigns. Though he was the sole creator of these artifacts, Thomas declined to sign his name on any of them so that the provenance of such pieces took priority over their initial origin—the collector or institution who commissioned or purchased the works would sign their names instead. The entrepreneurial project became a years-long experiment in testing the limitations of authorship and artistry in a post-Duchamp world. This volume provides documentation of the project, along with a final previously unpublished interview by Thomas that enables readers to understand the coherence of his entire work.

The Agency: Readymades Belong to Everyone®

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Paperback / softback by Paul Bernard , Emeline Jaret

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Philippe Thomas' entrepreneurial experiment questions the distinction between authorship and ownership French artist Philippe Thomas (1951–95) never intended to make... Read more

    Publisher: Distributed Art Publishers
    Publication Date: 20/04/2021
    ISBN13: 9781942884903, 978-1942884903
    ISBN10: 1942884907

    Number of Pages: 208

    Non Fiction , Art & Photography

    Description

    Philippe Thomas' entrepreneurial experiment questions the distinction between authorship and ownership French artist Philippe Thomas (1951–95) never intended to make a name for himself; rather, he was much more invested in the artist’s ability to disappear behind his work. In 1987 he created readymades belong to everyone®, a communication and events agency that mainly provided posters and signboards for different advertising campaigns. Though he was the sole creator of these artifacts, Thomas declined to sign his name on any of them so that the provenance of such pieces took priority over their initial origin—the collector or institution who commissioned or purchased the works would sign their names instead. The entrepreneurial project became a years-long experiment in testing the limitations of authorship and artistry in a post-Duchamp world. This volume provides documentation of the project, along with a final previously unpublished interview by Thomas that enables readers to understand the coherence of his entire work.

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