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提及原创艺术展览馆，它的历史可以追溯到19世纪晚期，直到今天，这类艺术馆为小众艺术家们提供了展示的舞台。举个例子，建成于1886年伦敦的的新英国艺术俱乐部，其投资者之一是约翰▪辛格尔▪萨金特。这个俱乐部发展成为分享印象主义派别作品的别样展台，当时印象主义尚未被学界广泛认可。尽管在俱乐部内部存在不同派别，但是艺术家们在反抗学院派的观点立场上是团结一致的。然而，随着这个俱乐部逐渐被学院派认可，它也慢慢变成了进入学院派的一块垫脚石。这段从另类到主流，从边缘到中心的经历，成为了所有原创艺术展览馆的重要里程碑。研究者指出的墨西哥帕纳德里亚展览馆，也出现了这种趋势。最初它是一个另类的空间，随后慢慢被主流吸引，直到最终关闭。

自从在60年代的美国和70年代的英国出现之后，原创艺术展览馆扩展到了世界各地。欧洲、美国和加拿大的大部分展览馆建成之初都是为了制度化艺术的主流精神反抗。这样的展览馆通常可以被划分为两组。

The aim of this paper is to provide a commentary on the ongoing PhD research work by Iberia Perez Gonzalez entitled, “The Role of Artist-Run Initiatives in the Practice and Discourse of Contemporary Art in Latin America”. This essay looks at the various issues taken up by the researcher and delves into how far she has been successful in approaching her desired objective.

To begin with artist run initiatives, its history goes back to the late nineteenth centuries and continues to this day as platforms for artists beyond the mainstream. As an example, we can look at the New English Art Club formed in 1886, in London, one of whose founding members was John Singer Sargent. This club developed as an alternative platform to share ideas of the impressionist era which were not readily approved of the Academy. Although, there were factions in this club, they were united in their views against the Academy. However, as this club gained mainstream acceptance it slowly came to be regarded as a stepping stone to the academy itself.(Dunlop, 1972) This journey, from the alternative to the mainstream or the periphery to the centre has been a mark of all artist run initiatives ever since. The example that the researcher points out of an artist run initiative, La Panaderia in Mexico also shows this trend. It started out as an alternative space but slowly gravitated towards the mainstream before finally shutting down.

The proliferation of artist run initiatives all around the world followed its emergence in the USA and UK in the 60’s and 70’s. Most artist run initiatives in Europe, America and Canada started as a rebellion against the mainstream ethos of the institutionalized art spaces then. Such initiatives can usually be divided into two groups a) established artists moving away from mainstream art practice and b) emerging artists’ right out of college who are not usually given a chance by main stream art organizations.

In USA in the early 1970s artist run initiatives came up as a response to a void in the art world that was not being fulfilled b本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。