ePub Dark Matter: Art and Politics in the Age of Enterprise Culture (Marxism and Culture) download

by Gregory Sholette

Author:

Gregory Sholette

ISBN13:

978-0745327525

ISBN:

0745327524

Language:

English

Publisher:

Pluto Press (January 5, 2011)

Category:

Social Sciences

Subcategory:

Politics & Government

ePub file:

1591 kb

Fb2 file:

1255 kb

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Rating:

4.9

Votes:

990

Gregory Sholette Politics and Government English

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Dark Matter: Art and Poli. Sholette investigates how this is at once a position of exploitation and precarity but also of potential empowerment.

With great verve and urgency, Gregory Sholette explores the economics of contemporary art production in an era .

With great verve and urgency, Gregory Sholette explores the economics of contemporary art production in an era of neoliberalism, and outlines the promises and pitfalls of various tactics of resistance. Dark Matter is a salient call-to-arms to all cultural laborers. We may just all be surplus, but if Sholette's uncovering of these invisible practices tell us anything, is that the Dark Matter, really does matter.

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ISBN: 0745327524; Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalized artists, the "dark matter" of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to i. regory Sholette, a politically engaged artist, argues that imagination and creativity in the art world originate thrive in the non-commercial sector shut off from prestigious galleries and champagne receptions.

Dark Matter Art and Politics in the Age of Enterprise Culture Marxism and Culture.

Article in The Journal of Modern Craft 5(1):115-118 · March 2012 with 12 Reads. Cite this publication. In Memoriam-Benedict R. O'G. Anderson (1936–2015): One of five essays by long-time colleagues, students, and friends of Ben Anderson that pay tribute to his life and legacy as a scholar, teacher, author, political analyst, and keen observer of people and cultures.

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Dark Matter - Gregory Sholette. Art and Politics in the Age of Enterprise Culture. In the realm of culture, there are concrete threats ahead-the arts, which in such times of crisis are perceived as a luxury, face a period of cutbacks. First published 2011 by Pluto Press. Universities are slashing courses in the Arts and Humanities, now defined, under current funding regimes, as of no financial value-the only legitimate measure today. Our series, Marxism and Culture, continues in this bleak context, in which there is less and less to lose.

This book shows that these marginalised artists, the 'dark matter' of the art world, are essential to the .

This book shows that these marginalised artists, the 'dark matter' of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a politically engaged artist, argues that imagination and creativity in the art world originate thrive in the non-commercial sector shut off from prestigious galleries and champagne receptions. This broader creative culture feeds the mainstream with new forms and styles that can be commodified and used to sustain the few artists admitted into the elite.

Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalised artists, the 'dark matter' of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it.Gregory Sholette, a politically engaged artist, argues that imagination and creativity in the art world originate thrive in the non-commercial sector shut off from prestigious galleries and champagne receptions. This broader creative culture feeds the mainstream with new forms and styles that can be commodified and used to sustain the few artists admitted into the elite.This dependency, and the advent of inexpensive communication, audio and video technology, has allowed this 'dark matter' of the alternative art world to increasingly subvert the mainstream and intervene politically as both new and old forms of non-capitalist, public art. This book is essential for anyone interested in interventionist art, collectivism, and the political economy of the art world.

Arith

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Best West

The art world is not what it was back in 2000. The author of this book blames it on the internet ruining everyone’s desire to get out and see things. Real estate values don’t help either when it comes to art. In the chapter Glut, Overproduction, and Redundancy he portrays Soho as a former artist colony with dirt cheap rents, forced to change thanks to a rise in the value of Manhattan’s buildings. In the 1990’s the art galleries moved to Chelsea, and by 1997 it was already getting expensive. No artist can live there now!

Studio space has migrated away to Brooklyn, so the actual artist studios are no longer anywhere near the physical art world. It’s the same thing with Europe; a lot of the work in the Venice Biennial is made in Berlin. London had artists working in run-down neighborhoods too, and there it was even more extreme. Here in the USA we had Guggenheim, Rockefeller, Morgan, Chase, Cooper, Hewitt, Pratt, Whitney, Ford, and Dupont sponsoring all the museums. But in Britain you didn’t have all the millionaires with their museums, so the artists had to hustle even more. The average British artist took the cheapest rent he could, so you had artists and musicians working in London’s East India docks long before it became “The Docklands.” Nowadays there’s no way an artist could afford to work on the waterfront. Same thing with Notting Hill.

But there is hope. Groups like “Not an Alternative” are using abandoned buildings, and there’s the Museum of Reclaimed Urban Space in the East Village. In the last decade, art seems to have moved from a display-for-profit approach to an activist approach, and perhaps that’s just as good. You can’t use art to mock big business if your sponsor is a big business. That’s like biting the hand that feeds you. Back in the Great Depression, there were still wealthy industrialists who sponsored artists despite the lack of revenue. But today, it’s over. The biggest spenders have lost everything. Even the well-endowed museums have lost their savings. Perhaps in this decade, the art will truly come from within, not motivated by money?

Lucam

This provocative and stimulating book reveals what visual artists will become in the 21st century. As Nicolas Bourriand's "Relational Aesthetics" morphs into Pablo Helguera's "Socially Engaged Art" (SEA), Gregory Sholette demonstrates why a renewed commitment to art as a means for the establishment, expansion and engagement of civics-minded communities both for establishing and enlarging "creative democracies" (as defined by John Dewey) and the importance of educating those whose insatiable curiosity appeals eventually to the value of both long-term, static social institutions and to the sudden, kinetic emergence of temporary communities whose identity stems from a shared experience (i.e.: concert festivals, Burning Man, county and state fairs, etc). Sholette examines why this binary (long-running, established traditions that emphasize the artist's intention which corresponds with theories of an art-for-art's-sake formalism. Sholette admirably demonstrates why such narrow conceptions of art's value to society results in a rapacious inquisitiveness and mindless materialism that denies the therapeutic capacity of art to re-humanize us in an epoch marked by social media processes which conflates community with alienation and isolation. Socially engaged art unites people and enables us to encounter our humanity through the conflation of aesthetic impulses with ethical action. Read this book if you want to understand what art will become in the next fifty years. The Situationist International and the collective is back to save contemporary society from its institutions and worst impulses.

Prinna

"Gregory Sholette's great new book, Dark Matter: Art and Politics in the Age of Enterprise Culture, makes a nice link about the Situationist's espousal of an alternative to capitalist economics based on the concept of a potlatch ceremony, which according to Marcel Mauss (via Sholette) 'redistributed ... property downwards, in the form of gifts that traveled from those better off to those less so, thus raising the status of the gift-givers within the entire community.' Obviously, as suggests Sholette, the Situationists expected at least some kind of pay-off for their efforts (like the potlatch 'gift-givers' expecting a rise in status), even if political in nature rather than material; 'their generosity therefore might be thought of as a gift of resistance.'" [...].

Sholette's book is great analysis of the complex inter-workings of art, capital, neoliberalism, gentrification, people's desire for autonomy (or conformity), questions of legitimisation and fund structures, precarious work, censorship and potential resistances through redundancy, unproductivity and surplus itself. The amalgam of effects and lives he terms 'dark matter' is that which keeps the art world machine functioning, despite (and because of) its blaring hypocrises and exploitations.

Dark Matter explores what it could mean to be part of the art abyss, that ever-increasing mass who every day wake up on the 'wrong' side of Capital, but nevertheless keep getting up somehow. Sholette investigates how this is at once a position of exploitation and precarity but also of potential empowerment. The broad focus of the study is from a North American perspective, however the depth of research and clarity of phrase make the links to specific locales circumstancial rather than emblematic and thus enables the reader to see the overarching issues in terms of a 'global' situation that goes (necessarily and systematically) beyond the confines of nation and culture.

The remaining question is not only whether this dark matter could indeed 'refuse to be productive for the market' (p.188) and thus develop some kind of subversive freedom 'apart from the objectifying routines of "work"' (p.186), but whether such a refusal could be possible and, furthermore, politically effective in the age of mass depression and nonsolidarity.

Highly recommended reading!

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