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Art and Politics in the Age of Enterprise Culture

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Art and Politics in the Age of Enterprise Culture Dark Matter Sholette T01780 00 pre 1 30/09/2010 14:30 Marxism and Culture Series Editors: Esther Leslie (Professor in Political Aesthetics at Birkbeck, University of London) and Mike Wayne (Reader in Film and Television Studies at Brunel University) Other titles available: Red Planets Marxism and Science Fiction Edited by Mark Bould and China Miéville Marxism and the History of Art From William Morris to the New Left Edited by Andrew Hemingway Magical Marxism Subversive Politics and the Imagination Andy Merrifield Philosophizing the Everyday The Philosophy of Praxis and the Fate of Cultural Studies John Roberts Marxism and Media Studies Key Concepts and Contemporary Trends Mike Wayne Sholette T01780 00 pre 2 30/09/2010 14:30 Dark Matter Art and Politics in the Age of Enterprise Culture GREGORY SHOLETTE Sholette T01780 00 pre 3 30/09/2010 14:30 First published 2011 by Pluto Press 345 Archway Road, London N6 5AA and 175 Fifth Avenue, New York, NY 10010 www.plutobooks.com Distributed in the United States of America exclusively by Palgrave Macmillan, a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010 Copyright © Gregory Sholette 2011 The right of Gregory Sholette to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978 0 7453 2753 2 Hardback ISBN 978 0 7453 2752 5 Paperback Library of Congress Cataloging in Publication Data applied for This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental standards of the country of origin. 10 9 8 7 6 5 4 3 2 1 Designed and produced for Pluto Press by Chase Publishing Services Ltd, 33 Livonia Road, Sidmouth, EX10 9JB, England Typeset from disk by Stanford DTP Services, Northampton, England Printed and bound in the European Union by CPI Antony Rowe, Chippenham and Eastbourne Sholette T01780 00 pre 4 30/09/2010 14:30 This book is dedicated to Lucy R. Lippard, whose tireless energy remains an inspiration to me as an artist and writer; to the memory of Sophie Saroff (1917–88), comrade and mentor; and to Patrick Sholette (1958–2010), brother, worker, and friend. Sholette T01780 00 pre 5 30/09/2010 14:30 Sholette T01780 00 pre 6 30/09/2010 14:30 CONTENTS Series Preface ix Acknowledgments xi Exordium: An Accidental Remainder xiii Introduction: The Missing Mass 1 1 Art, Politics, Dark Matter: Nine Prologues 23 2 The Grin of the Archive 46 3 History That Disturbs the Present 71 4 Temporary Services 94 5 Glut, Overproduction, Redundancy! 116 6 The Unnamable 135 7 Mockstitutions 152 8 Conclusions: Nights of Amateurs 186 Notes 189 Bibliography 218 Appendix: Artists’ Groups Survey 2008 222 Index 224 Sholette T01780 00 pre 7 30/09/2010 14:30 Sholette T01780 00 pre 8 30/09/2010 14:30 SERIES PREFACE Marxists frequently point out the crisis of the present and proclaim “We’ve never had it so bad—now is the time for revolution.” And here we go again. But, by any account, the events of the past couple of years have been turbulent and critical. Bank bailouts, meltdowns in major financial institutions, long-established businesses going to the wall, the collapse of economies and economic zones, rising world unemployment, humanly-induced ecological disasters, and that perennial feature of the post-war world, ongoing war and occupation. There is a widespread perception of systemic instability and many fear worse to come. 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. 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. Eighty years ago, Walter Benjamin and Bertolt Brecht planned a journal, in order, as they saw it, to seriously wage the intellectual civil war against their many reactionary or incompetent fellow critics. It was to be called Krisis und Kritik [Crisis and Criticism] and drew in figures such as Lukács, Adorno, and Marcuse. Its character was political, “standing on the ground of class struggle,” and “its critical activity anchored in clear consciousness of the basic critical situation of contemporary society.” At that moment, the many forms of crisis— social, economic, political—appeared to be ever more manifest and they pressed themselves in to become part of the context of criticism. The critical moment is, precisely, the moment of the splinter, the shattering. Critical is derived, of course, from crisis. It is defined as a turning point, an interruption, a change in quality. This sense is most explicit when it is used in chemistry or physics: where it relates to the value of a measurement, such as temperature, at which an abrupt change in a quality, property, or state occurs. The critical moment proposes a before and after or a wavering on the cusp of those two moments. Our book series would hope to address such a critical moment. It is a decidedly “post-post” one. The delusions of the 1980s, which took on concrete “critical” form in Post-modernism, seem otherworldy now. Post-marxism, post-feminism, “the third way”—these appear as the concerns of another epoch. It is not uncommon to hear talk again of that oldest of Marxist bugbears, Imperialism. And today Capitalism—and its anti-, are even part of the media’s vocabulary. ix Sholette T01780 00 pre 9 30/09/2010 14:30 x DARK MATTER This current volume investigates a terrain of critical art practice, or, better put, tactical media work that exceeds the white walls of the gallery and takes the battle of and in representation—in all its senses—to the streets. It builds on previous work in our book series, melding the work on Marxism and Art History (edited by Andrew Hemingway) with the analysis of the Everyday (John Roberts). It brings to light the “dark matter” of the art world, the unrepresented “missing mass,” wresting creativity from professionals and commodifiers, in order, not least, to rewrite art history and re-invigorate the everyday. Esther Leslie (Professor in Political Aesthetics at Birkbeck, University of London) and Mike Wayne (Reader in Film and Television Studies at Brunel University) Sholette T01780 00 pre 10 30/09/2010 14:30 AcKNOWLEDGMENTS A substantial roster of groups and individuals made this decade-long study possible. Foremost among them are Carol Duncan and Andrew Hemingway, whose support and insights over many years cannot be overestimated. I am also indebted to Janet Koenig, and Ariana Sholette, as well as a remarkable group of teachers including Hans Haacke, Jean-Pierre Gorin, Steve Fagin, Benjamin Buchloh, Charlotte Schatz, and Jeanne Burford. My gratitude extends to my friends David Stern, Sue Giffard, and Rachel Stern who provided me with a place to work in a time of need; Olga Kopenkina for her guidance and encouragement; Jeffrey Skoller for his enduring intellectual engagement and friendship; Lucia Sommer who expertly helped with the project survey as well as designers Noel Douglas, Emily and Scott Santoro; Lize Kirwin who generously provided access to The Archives of American Art, and the staff of the Museum of Modern Art Archive for their able assistance with research in the PAD/D Archive. This book would also not have been possible without the adept editing of Esther Leslie, David Castle, and Tim Clark from Pluto Press, as well as a host of artists, friends, and scholars who have contributed in countless ways to my knowledge of this subject for several decades, including: Dennis Adams, Alexander Alberro, Melody Aleen, Jerri Allyn, Aryeen Anastas, Rasheed Araeen, Doug Ashford, Todd Ayoung, Scott Berzofsky, Brett Bloom, Mary Ann Calo, Jessica Cannon, Ron Clark, Keith Christensen, Salem Colo-Julin, Maureen Connor, Jim Costanzo, Ivet Curlin, Edward DeCarbo, Ana Devic, John Duda, Dan Eisenberg, Andrea De Felice, Ed Eisenberg, Marcelo Expósito, Nina Felshin, Marc Fischer, Kirsten Forkert, Emily Foreman, Rene Gabri, Aaron Gatch, Benj Gerdes, Philip Glahn, Leon Golub, Dara Greenwald, Libertad Guerra, Brian Hand, Marc Herbst, Robbert Herbst, Brian Holmes, Nataša Ilic´, Paul Jaskot, Fred Lonidier, Tom Klem, Lisa Maya Knauer, Carin Kuoni, Steve Kurtz, Dejan Kršic´, Nicolas Lampert, Ernie Larson, Pedro Lasch, Marc Leger, Martin Lucas, Rikke Luther, Jerry Kearns, Mary Kelly, Martin Krens, Moukhtar Kocache, Ed Marszewski, Lydia Matthews, Micki McGee, Josh McPhee, Karen van Meenen, André Mesquita, Sherry Milner, Nicholas Mirzoeff, Naeem Mohaiemen, Alan Moore, Barbara Moore, Beverly Naidus, Catherine Queloz, Trevor Paglen, Herb Perr, Jenny Polak, Tatjana von Prittwitz, Yasmin Ramirez, Gene Ray, Gerald Raunig, Oliber Ressler, Scott Rigby, Tim Rollins, Martha Rosler, Ellen Rothenberg, Julia Rothenberg, Orla Ryan, Sabina Sabolovic, Rasha Salti, Dread Scott, Jacque Servin, Stephanie Smith, Åsa Sonjasdotter, Christoph Spehr, Nancy Spero, Blake Stimson, Eva Sturm, Bill Talen, xi Sholette T01780 00 pre 11 30/09/2010 14:30 xii DARK MATTER Nato Thompson, Daniel Tucker, Igor Vamos, Vanni Brusadin, Wolfgang Zinggl, Vera Zolberg, Dan Wang, O. K. Werckmeister, Nicholas Wisniewski, Chin-tao Wu. I am also grateful to the publications Afterimage, Artforum, Circa, The Journal of Aesthetics and Protest, Proximity, and Third Text for their support (and who in a different form first published some of this book’s ideas and material), and to Professional Staff Congress union ADT Local #2334 and Queens College City, University of New York for making possible the release time from teaching to complete the manuscript.
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