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y the museums or commercial galleries. These emerging alternative spaces were artist-centered rather than object-based or market-based, thus, decentralizing the New York centric contemporary art world and providing opportunities to emerging communities of artists throughout the country. (Hertz, Betti-Sue)

 

In Canada, the emergence of artist-run centers during the late 1960s and early 1970s occurred as a reaction to the massive influence of American media culture, which overshadowing the Canadian artists had put them in a position subservient to the dominance of a centralized, New York-based art circuit. This situation often forced artists to take matters into their own hands, forming small, overlapping circuits working around precariously funded publications, workshops, and spaces to show their work and gain exposure even on a solely national level. The significance of this phenomenon being that it contributed to the self-projection of the artists themselves. (Faguet, Michele)

 

If we look at the UK, the increase in the number of artist run initiatives started mainly in the late 80s and early 90s. The general trend at that time was what an author calls “an unpaid group of people, surviving on unemployment benefit and part-time work, using every means possible to produce exhibitions.”  They did not in most cases receive funding and the spaces used by them were unsuitable for any other use. Although the spaces were open mostly during weekends they had a strong network with other such spaces which lead to exchange of artists internationally.

 

In the Latin American countries however the artist run initiatives developed mainly in a politically charged atmosphere. More recently organizations such as RAIN (Rain Artist initiative Network) have collaborated with local institutions trying to respond to the needs of the artists in countries such as Mexico, Brazil & Argentina. Other such approaches are pushing aesthetic spaces into disappearance and are thus encouraging artists to develop practices so that participation and interaction between the artists and the intellectuals in the core of social conflict are promoted. (Kostianovsky, T ;“What is Latin American art”)

 

Some characteristic similarities can be found between all the alternative initiatives. The internal organizational structure of these groups often changes from a loose collective to a small not-for-profit business model. In general their goal is to democratize and decentralize the contemporary art market. They use their funds to generate other forms of economic support from private foundations, individuals, and fundraising events. Each alternative space develops a unique identity over time. Today, these initiatives have adopted new attitudes towards the concept of alternative, creating hybrid models with not-for-profit and for-profit components.

 

We have so far, been able to create a general idea about artist run initiatives by an overall discussion on them and look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。