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*Coil contract: This is a legal contract between a buyer and seller/creator of an artwork. This contract must bind the purchaser to the piece for the life of the purchaser. (The Coil contract is a conceptual piece of artwork as well as an actual legal contract to be applied to the Either/Or canvases.) No resale, no lending, no reproducing of the image, no using the piece as collateral, no willing the piece to heirs, no public viewings and and other restrictions which would bind the buyer to the piece up until his/her death. The fate of the piece in the event of the owner's death would be in the hands of current legal dictates of the said time and place. This contract challenges the notion of art for art's sake. Art is primarily a commodity in our culture. This contract's aim is to slow down this process by holding a piece of work in economic limbo; burying the work, so to speak. The larger implications of this contract involve the idea of commitment/ownership and mortality by binding the owner to the object. The only motivation one could expect from an individual entering into a contract like this is status. If this element could be eliminated legally, the contract would be near perfect. (The element of choice could be implemented by allowing a potential buyer the option of either purchasing a work at full price without the contract or half price with the contract.) *Coil contract: (Second version) The terms and conditions are identical to the original contract with the exception being that the art object will be free with an added stipulation that apon the death of the owner, the art object is to be returned to full ownership of the artist or the estate thereof at which point the art object will immediately be destroyed via incineration. This second version of the Coil Contract most fully achieves the act of severing the art object from the realm of commodity. The person who enters into this contract is reminded of their mortality with every passing glance at the object in which they are bound for life.
WB - Fall 2007 |
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© William Brovelli 2008