Art as Critique Under Neoliberalism: Negativity Undoing Economic Naturalism
Is contemporary art still a viable medium for socio-political critique within a cultural terrain almost wholly naturalised by neoliberalism? Historically, negativity is central to the project of critical theory. Today, art’s critical acuity is revivified by negatively divesting from art contexts saturated with neoliberal economism. Criticality is then negatively practiced as an ‘un-’ or ‘not-doing’, defining modes of exodus while crucially not abandoning art’s institutional definition altogether.
In Brief: The Future of Art Schools etc.
There are two principal challenges facing art schools today. Both pertain to the decades-long impact of neoliberalism.
Here and Nowhere: Artistic Identity on Social Media
Social media is a dominant force in contemporary art and culture. Social media attempts to incorporate everything into it. Its underlying consensus is of sharing all with all at all times. The unprecedented popularity of social media among artists suggests they have finally escaped their traditional identity as alienated individuals. Or have they?
Sweeping Art Under the Market
Critical art writing bemoaning a fundamental ‘crisis’ in contemporary art is by no means new. In fact, since the 1980s such writing has become commonplace. A recent article by Camille Paglia extrapolating such a crisis called ‘How Capitalism Can Save Art’ appeared, fittingly enough, in the Wall Street Journal. How exactly capitalism can save art however is by no means convincingly argued.
Artist Run = Emerging: A Bad Equation
If one were to take seriously the autonomy suggested by the term ‘artist-run’, then the assumed natural dominance and superior expertise of many other professional players in the so-called culture industry, would be called into question.
Out of the Past: Beyond the Four Fundamental Fallacies of Artist Run Initiatives
Over time the role and function of Artist Run Initiatives (ARIs) has shifted from one of quasi-resistance and the questioning of commonly held (essentially commercial) perceptions of contemporary art, to one largely of acquiescence and thoughtless professionalism. Luckily, there are still aberrations and exceptions to this rule.
Plenty of Nothing; Art/Money/Installation
Even today, installation art, properly defined by its dependency on site and its irreducibility to isolable components, poses especial challenges. Never is this truer than when the installation art in question appears to exhibit ‘nothing’. In a global climate founded squarely on reinvigorated traditionalist principles of material accumulation, contemporary installations in which ‘nothing’ is exhibited pose important questions concerning art’s value.
To produce value under Capital is a misfortune because it means producing value for somebody else.