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Using a traditional structuralist model of subjectivity, the first section of the paper argues for a sense of the artist/subject as a composite entity determined by a complex network of relations across time and space (Althusser:1969).
This notion stands in stark opposition to the artist as individual and as a singular creative agent. It instead argues for the recognition of artists as socially imbedded and indeed art as a collective social process of making meaning (Dewey:1934). The paper argues for the decentering of the privileged, liberal artist-subject allowing for the recognition of an alternative, non-Western, extended ‘body’ of knowledge Shusterman).
