the end, the shortest day, and midwinter

I won't apologize for the long delay, but know that I have intended to write many times before today.
This will be more of an update than anything of substance, but I'm hoping to start writing regularly again.

I haven't finished it yet, but Martha Rosler's book Culture Class is my favorite read of the year.  I think its an important book for artists to read to be able to communicate about where artists belong in society.  One aspect of Rosler's writing is to criticize Richard Florida's concept of the creative class, which is sorely needed as I see artists posting articles and interviews by Florida as evidence that artists belong in the social structure of a community because they make a community more prosperous and economically successful.  This type of argument is problematic on a number of levels in which I'll address in future posts, but I highly recommend reading the book when you can.  

I plan to address the ideas of zombie formalism and other recent critiques of contemporary abstract painting.  I think it is valid to be critical of this type of painting, but often feel like the critiques are incredibly limited to painting within a six block radius in Chelsea, avoiding a number of great abstract painters outside of that area.  It won't be surprising to anyone, even artists who live across the river in New Jersey, that New York can tend towards narrow parameters of art, but I think this is worth flushing out soon.

I hope you all enjoy the end of the year and the start of the new!  I'll leave you with a studio view:

artist and consumer

I've been working on new theories of the relationship between the artist and the consumer.  These will only be working ideas--probably impossible ideas--that may never get resolved; but that, to me, is a sign of a productive line of thinking in something that is organic and will change over time.  

Simply, historical models of artist/consumer or artist/benefactor or patron relationship are: 

1) artist working for and/or selling to a larger organization (government, museum, church, etc)

2) artist selling to individual/group consumers, with "collecting" consumers

3) artist selling to individual/group consumers, non-"collecting"

4) artist producing work for ritual, religion*, socio-culture practice** where the consumer's role is perhaps not qualified by exchange of money.  

What we commonly call a "commission" could fall under any of these, though I feel that commission is often a relationship that has a high probability of exploiting the artist.  This is not to say a commission is good or bad, but practically is up to each individual artist to determine and agree to the arrangement of a commission and often ends with an artist sacrificing many aspects of her or his work to make the commission.  

Not included, because it is a different list/relationship: 

artist producing work without selling (no consumer)

Consumer purchasing a mass produced piece without an artist (no artist***)

Organization purchasing from a corporation****

  

More on this soon.

*I intend religion here to have more social implications as opposed to "church", in 1), which implies a governing body that commissions a work.  Religion, here, is meant to stand for relics, paintings, statues, etc made for religious purposes but are not paid for by the church to further the church's or patron's agenda.  The most obvious example of this would be patronage in Italian Renaissance painting.  

**I do not mean social practice as a buzzword as it is used too often in contemporary art, but rather attempting to define producing work that has a broader purpose (from the artist's perspective) within society and culture.  

***Contrary to any political statements or any other theories, corporations are not artists.  Some artists should be considered corporations as they employ many workers and function, organizationally, very much like a corporation in terms of production and their relationship to the consumer (Koons), and I am against this form of artistic production

****These theories are not based on Sotheby's selling to the Met, for example, as both the artists--who will only receive negligible profits from a sale like this in the best case--and consumer are confused, complicated, and frankly have little influence on individual artists.  

entrepreneurship (and a suitable replacement)

In the last few weeks I've had a much needed vacation and participated in a panel discussion (which was more of a panel of individual opinions expressed by each member) on art collecting.  The panel and their ideas brought up some points that have stuck with me, and this is an appropriate venue for flushing them out a bit further in the next few posts.    

1. Entrepreneurship

The idea of entrepreneurship needs to be reevaluated as it is used in the art world.  It is often used as a state of artists working independently.  I am putting forth that it should be referred to as self-reliance or subsistence.  Entrepreneurial is so far rooted in capitalism that it sullies the idea of artists working productively for themselves, and oversimplifies what artists might do to make a living.  When I’ve heard people use this as a way to justify not working with galleries, starting projects, or crowdsourcing funds it almost always reduces the artists’ work to an economic strategy (with only one end goal--the acquisition of capital).  I know subsistence—doing what is needed to maintain at the minimum level—is problematic in some ways, but it is closer to what I see and feel in the art world than entrepreneurship (unless we are talking about an artist who makes work and sells it only on Etsy, which one could argue that those artists are making conscious choices to be outside of the art world or sell their work in an entrepreneurial way in addition to being a part of the art world).

Though one can argue that the art world is intertwined (or even dependent on) the art market (or the capitalist economic system), I think it can be problematic and dangerous to use capitalism's rhetoric.  The system should not define modes of making within the art world, even if it lasts forever and the art world's relationship to it does not change.  

One must also admit that making money as an artist is a necessity but should not ever determine the entirety or reason of one's production.  As a function of capitalism and a part of the small business economy, entrepreneurship has the end goal of gaining capital.  The two are opposed to one another.   

I, of course, am open to suggestions on possible replacement words.  My suggestions come from a life spent working to avoid the system as much as possible, so in some ways the vocabulary is against it but also acknowledge its prevalence.  Perhaps there is some better substitute.

  

the city

A few quick thoughts after a brief moment of reflection on a recent trip to New York City:

• There are lots of interesting ventures and projects being formulated in the city; interesting work being made, smaller galleries and dealers that are holding artists and patrons at full attention.  Certainly my views on what these things are may not be the same as other artists and patrons, but I was most impressed by the galleries on the lower east side*.  I wasn't, of course, able to see everything, and spent most of my time in Chelsea and LES. 
• I met a number of amazing and kind people in five days.  I had discussions and conversations that I would not have ever expected--the type that both energize me and make me thirst for having more discussions like that here in Des Moines.  Ky Anderson, Jason Rohlf,  and Molly Merson are just a few of the people I got to talk with.  I was able to meet people heavily involved in art in the city as well as talk to artists about the history of New York City.  
• To state the obvious:  there are some amazing museums in New York City.  I still can't believe that I saw as much as I did.  I did not see the Koons exhibition at the Whitney, for reasons that should become clear if you read other posts.    
• The city is a subset of the art world, and its relationship to the greater art world is an interesting thing to think about.  I would have guessed New York to be far ahead of the other cities that I have seen but can't say that I totally understand that to be true; while it is certainly more feasible to be an artist making a living off their work in the city there is still the problem of rampant gentrification, soaring real estate prices, income disparity, and other issues that face parts of the art world in the U.S.  I bought Martha Rosler's Culture Class and hope to learn more about some of these relationships.  
• New York is a rugged place.  We tend to relegate rugged to "nature" and that which is outside of the city, but one only need to go to New York to understand how that term can be used.  Though the terrain is man-made, it is still a difficult, trying, and natural example of an urban center.  It made me realize, once again, that the city has its own ecosystem and I, as much as I am secluded in the woods, am either functioning well in the ecosystem or functioning poorly.  The more difficult it is to function well, the more "rugged" a place is, in my mind. 
• I had a really odd experience eating at Momofuku Noodle Bar.  I have a lot of respect for David Chang, and thought the food was good; but it was strange to have read his book, hearing him talk, and thinking about his place in food (or the business of food) before the actual aesthetic experience.  I will write more in the future about this disconnect, particularly as it relates to the generally exploitative nature of mass media and what it did to my aesthetic experience.   

St. Paul's Churchyard, Manhattan

*This might seem conflicted as I was there, in part, to talk with a gallery in LES about an upcoming exhibition in October of this year.  If this conflict annoys you, take what I'm saying as that I'm incredibly happy and honored to be working with a gallery in LES (rather than other areas with higher grossing galleries).  

things just got weird (CINDERS)

No idea where this is going, but some friends and I have been playing music for three or four months now, and I've started composing some of my own by technological means under the name CINDERS.  Long live the ability for an average person to be able to put something like this together, it has been a blast to play with others and make crazy sounds myself.  I'm happy to share everything if you are interested--drop me a line, and I'll share it.  For now, here is one of the five tracks, titled "one and one".

the idea of plurality, continued

I should say that, in terms of my thinking about the impossibility of plurality in the art market, I mean strictly in the art market (and not the world in general).  Our relationship as artists and makers to the market is what then becomes the main issue.

To reiterate, I am forming an idea around the impossibility of plurality within an art market due to the main motivator of selling within the art market.  I don't see this as the fault of gallery owners, curators, or other professionals, but rather a fault of capitalism in a broader sense--if capital gain is the sole motivation for our economy (and culture), plurality will always be reduced to a kind of tokenism of artists of color or ironic inclusion (I'm thinking of the inclusion of Thomas Kinkade in exhibitions of contemporary painting), which is far from a plurality.

This is not to say that artists of color have not sold work within the capitalist system.  The gender and race gaps in the art market is far from representative of the art world (ELF Study, article on Micol Hebron's project for representations of the gender gap), though, and I think this is a good example of what I'm trying to establish.  Obviously, gender and race are not the only aspects of pluralism--and, in fact, fall under what we are more likely to call diversity--but I think this is a good indicator of some of the issues that the supposedly progressive art market are dealing with in 2014.  

The art world, on the other hand, is pluralistic, as is the world in general.  This whole idea of pluralism is related to the idea that there is no Truth, but many truths; and, in some senses, that the dialogue and discourse that can come from a discussion of these many truths is important and beneficial for everyone involved.

An important thing to remember in all of this, too, is that divisions that have been constructed within the art market (and the art world, actually) are part of the problem in preventing plurality.  Artforum, always a target when it comes to thinking like this, tends to have the same type of writing, the same advertisements, and a lack of diversity in terms of the exhibitions that are written about.

These constructions, then, are things that need to be analyzed and reflected upon.  The critical spirit can think about how these institutions function and in what ways they are limiting diversity and plurality--as well as devise ways to maintain a number of methods of thinking and world views (ideologies, frameworks, etc.  We have so many ways of saying this concept--the concept of how an individual or group approaches everything--which is really quite striking to me because, in fact, it is really difficult for someone or a group to approach everything the same way, time after time).

 

the idea of plurality in the (art) world

I first came across the word and idea of plurality in connection with Sartre's concept of a plurality of solitude/isolation.  Plurality has come up a few times recently and I have given it considerable thought, particularly as it stems from a few recent readings on biennials.  "Has Biennial Culture Gentrified the Art World?" by Kimberly Bradley and Ben Davis's incredible interview "The Yams, on The Whitney and White Supremacy" have both contributed to this thinking, and as always, I'm sure it will develop over time.  I'd like to lay out a basic statement of plurality and, what I suspect is its impossibility in our society.

So, basically, I feel that true plurality is impossible within capitalism (and, to use Marcuse's terms, advanced industrial society).  Perhaps this is not the only system that makes plurality impossible, but I think I can make a pretty good rational for thinking in terms of where we are now, particularly in the art world, but in the sense that the art market is a subset (in a reductive way) of the larger economy as the art world is a subset of the larger world.

I can't really make this case without revisiting Herbert Marcuse, as my theory here relies on a bit of Marcuse's argument in One-Dimensional Man.  Some of the points that have stuck with me from Marcuse's work are ideas surrounding advanced industrial society.  This society created (and continues to create) a network of need--fueled by mass media, advertising, and other social aspects--that is inherently false (as in they are not necessities).  This created network reduces all of the world to a single  way of thinking, hence the one-dimensional universe.  "The great refusal" and critical thinking (or negative thinking to Marcuse) are the only ways of resistance.

So, in response to Marcuse's theories lodged in my head for the last ten years and reading Bradley and Davis's articles, I think we can see a partial description of the art market.  The question of Bradley's essay, rhetorical or not, is that Biennial culture has probably contributed to gentrification, but the art market has, since the dawn of capitalism, been one-dimensional (and, thus, gentrified).  I know this might be hard to imagine--particularly for a part of the market that prides itself on "creative" thinking and artists that are "way out there"--canning and selling their own shit, doing other things that piss off the public, etc.  The selling of this, though, has always supported one idea--and that is the idea of capital gain.

Plurality, then, is limited to what is sellable and what the market is selling.  This has certainly been painting in the past, now it might be something different, but it can never be a true plurality.  And, if I may be allowed to modify a lack of plurality into the oppression of particular races, genders, and social classes, these things are amplified beyond theoretical thinking and into cultural and social issues that are endemic in our society.

I am aware that some people within the art world are working towards sustainable plurality and inclusiveness that transcends capital gain, but until we move away from a capitalist system, the market, I'm afraid, will only allow for tokenism and not a true plurality of people involved in the market.  Certainly we can break the art market down into different subsets, but their aim is all to gain capital.  I would hope to say that non profit spaces, then, are the answer, but the complexity here is that those institutions are so entwined with the market its difficult to really say how pluralist non-profits can even be.

I'll need to spend more time flushing this out, but I think Marcuse's advice still rings true for us as artists (and is present in HOWDOYOUSAYYAMINAFRICAN's action of withdrawing from the Whitney as well as their answers to Davis's questions) is that all we have is the right to refuse, to question, to be critical in the world that we are a part of.

Doing so will undoubtedly be beneficial for the art world, but also could potentially be an example of moving from pure capitalism into another system of working--one in which, at least, people's voices are heard and critical thinking is encouraged, as opposed to repressed.

Thanks for reading, and thanks to those of you who have sent notes in the past couple of months, they really mean a lot!