Journal Article
Processing Transactions, Forming Intent: Co-Production, Exchange and the work of Allison Smith

This article chronicles the production of Allison Smith’s artwork The Donkey, The Jackass, and The Mule (2008), commissioned for the Indianapolis Museum of Art exhibition On Procession. As with other projects by Allison Smith, this work relies on participatory production that challenges normative categories for attributing authenticity to categories of originality, such as historical narrative, material state, or creative intent. Looking at The Donkey, The Jackass, and The Mule alongside Smith’s Notion Nanny (2005–7) and The Muster (2005), where exchange and hybridity are of fundamental value to the work, conservators and art historians may discover a case for reevaluating the role of artists’ intent in shaping canonical understandings of an artwork.

Title
Publication TypeJournal Article
Year of Publication2013
AuthorsUchill R
JournalFuture Anterior
Volume10
Issue1
Start Page52
Pagination52-68
Date Published07/2013
Abstract

This article chronicles the production of Allison Smith’s artwork The Donkey, The Jackass, and The Mule (2008), commissioned for the Indianapolis Museum of Art exhibition On Procession. As with other projects by Allison Smith, this work relies on participatory production that challenges normative categories for attributing authenticity to categories of originality, such as historical narrative, material state, or creative intent. Looking at The Donkey, The Jackass, and The Mule alongside Smith’s Notion Nanny (2005–7) and The Muster (2005), where exchange and hybridity are of fundamental value to the work, conservators and art historians may discover a case for reevaluating the role of artists’ intent in shaping canonical understandings of an artwork.

Refereed DesignationRefereed