By Ben Davis
9.5 Theses on artwork and Class seeks to teach how a transparent realizing of sophistication is sensible of what's at stake in a extensive variety of modern art's such a lot chronic debates, from definitions of political paintings to the prestige of "outsider" and highway artwork to the query of the way we retain religion in paintings itself.
Ben Davis presently lives and works in ny urban the place he's government Editor at Artinfo.
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Additional info for 9.5 Theses on Art and Class
Org. Cover design by Josh On. Cover art is a detail of Relational Wall (2009) by William Powhida. Courtesy of the artist. Collection of Melva Bucksbaum and Raymond Learsy. This book was published with the generous support of the Wallace Global Fund and Lannan Foundation. Library of Congress CIP data is available. 5 Theses on Art and Class ART AND POLITICS Three: What Good Is Political Art in Times Like These? Four: Collective Delusions Five: How Political Are Aesthetic Politics? ART AND ITS AUDIENCES Six: Art and Inequality Seven: The Agony of the Interloper Eight: Beneath Street Art, the Beach Nine: White Walls, Glass Ceiling Ten: Hipster Aesthetics ART AND THEORY Eleven: Commerce and Consciousness Twelve: Crisis and Criticism Thirteen: In Defense of Concepts Fourteen: The Semi-Post-Postmodern Condition CONCLUSIONS Fifteen: Beyond the Art World Sixteen: To the Future Further Reading Acknowledgments Notes About the Author For my father Arthur, my mother Dina, and my sister Lilli Introduction The book you are reading is a collection of essays.
Returning to the orienting example of Frampton’s letter, however, it bears mentioning that there is a difference between his labor as an artist and the labor of the other workers he mentions as benefiting from his work. In fact, the difference is encoded in the nature of the dispute itself: MoMA’s security guards and projectionists cannot decide whether or not they want to perform their roles, at least not if they want to keep their jobs; Frampton, on the other hand, retains the autonomy to say no, and can therefore bargain for better terms (whether or not he is in a position to win them).
For later artists and writers, this template provided a way to give outsized social importance to debates about modern and postmodern art that would otherwise have seemed technical and obscure. The result was a widely influential form of cultural criticism that claimed the mantle of Marxist radicalism but lacked any interest in the most vital concern of Marxism: class struggle. Adorno was writing in the shadow of World War II, against the backdrop of murderous states waging total warfare, marshaling their populations via intensive propaganda.
9.5 Theses on Art and Class by Ben Davis