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 continual debates, from definitions of political paintings to the bothered prestige of "outsider" and highway paintings to the query of the way we continue religion in paintings itself.
Ben Davis at present lives and works in manhattan urban the place he's government Editor at Artinfo.
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Additional resources for 9.5 Theses on Art and Class
E. as a kind of manifesto on artists’ historical struggle to be paid for their work. Having been offered a retrospective of his films but told that it would be “all for love and honor” and that “no money is included at all,” Frampton listed the numerous people with whom he had worked or with whom he would work in the process of creating and showing his art—from the film manufacturer and processing lab personnel to projectionists and security guards—and asked why they should be paid for their work while he was not: I, in my singular person, by making this work, have already generated wealth for scores of people.
Is that they narrowly identify the working class as industrial workers, rather than the class of wage workers as a whole, which also includes white-collar workers, service workers, transportation workers, and so on. They also mistakenly associate the relative decline in the number of industrial workers with their declining social weight in the economy, when rising productivity in industry actually increases the potential power of industrial workers even if their relative numbers might diminish.
3 Dave Hickey, a critic once known for his rollicking critique of anti-market sanctimony, also announced that he wanted out, mainly because he was disgusted by the dominance of the superrich. “Art editors and critics—people like me—have become a courtier class,” he remarked. “All we do is wander around the palace and advise very rich people. ”4 Even Charles Saatchi—the advertising mogul at least partly responsible for the rise of both neoliberal doyenne Margaret Thatcher (through his “Labour Isn’t Working” campaign) and art-market darling Damien Hirst (through his art collecting)—recoiled in horror from what the art scene had become.
9.5 Theses on Art and Class by Ben Davis