Jeff Koons has two things in common with the great Renaissance painters like Rembrandt and Titian. He maintained a studio filled with helpers and he produced self-portraits. Where Koons differs from a Renaissance painter is in his use of the assembly line approach to both painting and sculpture in which individual artists are only involved in a small part of the final product. Marx wrote about alienation resulting from this kind of division of labor and it is hard to figure out of if many of Koons readymade sculptures can be classified as commodities of the type that are produced en masse in a factory or artistic works that are reflective of a brooding sensibility characterized by a singular vision of the world. This is, in fact, what separates them from Duchampian readymades which never quite seem to attain the status of commodities. However, just when you're about to dismiss Koons, you begin to realize this very dichotomy between commerce and art poses itself as one of the aims or dialectics of the work and you're somewhat calmed into an acceptance verging on pleasure. It’s easy to say that neither the early vacuum cleaners nor the famous "Play-Doh" sculpture are art, but then you become fascinated by the production of a piece which looks like plastic, but is actually heavy metal. One of the guards manning the recent Whitney retrospective of Koons’s work fenced off with a spectator who insisted on her right to touch and test one of the sculptures to make sure that indeed what she was seeing was not what it seemed to be. Koons elicits this kind of theater. “Made in Heaven” is the pornographic series featuring his former wife the Italian actress and politican La Cicciolina (aka Ilona Staller) and comprising paintings like “Exaltation,” (1991) where Koons comes on her face and another “Ilona’s Asshole,” which is self-explanatory. Koons says about the series, “It’s not porn. Made in Heaven dealt with the shame of masturbation in our society. It was a metaphor for cultural guilt. I wanted to reproduce the Garden of Eden, and sexual penetration like a hummingbird encounters a flower.” The series is introduced by poster for the film that Koons was originally going to make with his former wife. She’s in his arms, but he’s staring out at his audience. Again you are caught up short. Could it be that the artist is saying that he cares more about himself than his lover and that the imminence of a potential product trumps emotion? The answer is undoubtedly yes. Narcissism is a much bandied about word, but can we say that for good or bad Koons is caught in the narcissistic delusion that the world is indeed real?
Showing posts with label Marx. Show all posts
Showing posts with label Marx. Show all posts
Wednesday, October 22, 2014
Thinking Retrospectively About the Jeff Koons Retrospective
Jeff Koons has two things in common with the great Renaissance painters like Rembrandt and Titian. He maintained a studio filled with helpers and he produced self-portraits. Where Koons differs from a Renaissance painter is in his use of the assembly line approach to both painting and sculpture in which individual artists are only involved in a small part of the final product. Marx wrote about alienation resulting from this kind of division of labor and it is hard to figure out of if many of Koons readymade sculptures can be classified as commodities of the type that are produced en masse in a factory or artistic works that are reflective of a brooding sensibility characterized by a singular vision of the world. This is, in fact, what separates them from Duchampian readymades which never quite seem to attain the status of commodities. However, just when you're about to dismiss Koons, you begin to realize this very dichotomy between commerce and art poses itself as one of the aims or dialectics of the work and you're somewhat calmed into an acceptance verging on pleasure. It’s easy to say that neither the early vacuum cleaners nor the famous "Play-Doh" sculpture are art, but then you become fascinated by the production of a piece which looks like plastic, but is actually heavy metal. One of the guards manning the recent Whitney retrospective of Koons’s work fenced off with a spectator who insisted on her right to touch and test one of the sculptures to make sure that indeed what she was seeing was not what it seemed to be. Koons elicits this kind of theater. “Made in Heaven” is the pornographic series featuring his former wife the Italian actress and politican La Cicciolina (aka Ilona Staller) and comprising paintings like “Exaltation,” (1991) where Koons comes on her face and another “Ilona’s Asshole,” which is self-explanatory. Koons says about the series, “It’s not porn. Made in Heaven dealt with the shame of masturbation in our society. It was a metaphor for cultural guilt. I wanted to reproduce the Garden of Eden, and sexual penetration like a hummingbird encounters a flower.” The series is introduced by poster for the film that Koons was originally going to make with his former wife. She’s in his arms, but he’s staring out at his audience. Again you are caught up short. Could it be that the artist is saying that he cares more about himself than his lover and that the imminence of a potential product trumps emotion? The answer is undoubtedly yes. Narcissism is a much bandied about word, but can we say that for good or bad Koons is caught in the narcissistic delusion that the world is indeed real?
Labels:
Duchamp,
Jeff Koons,
la Cicciolina,
Made in Heaven,
Marx,
readymades,
The Whitney
Wednesday, September 17, 2014
Cracked!
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First Issue Cracked (cover art, Bill Everett) |
Saying that there would have been no ISIS if the US hadn’t
invaded Iraq is little like claiming that Ray Rice wouldn’t have gotten into
his current difficulties if he and his wife hadn’t taken the elevator or gone to Atlantic City. The
Saddam Hussein regime was tantamount in brutality to Bashar al-Assad’s in Syria
and if the US had never intervened it might well have run into problems soon after Arab spring with another revolutionary force that the dialectics of
history produced. The opposition might have been Shiite rather than Sunni but
Newton’s Third Law, “every action creates an equal and opposite reaction,” is
as applicable to politics as it is to science. The fodder for despots and
terrorists is chaos and hopelessness and there's enough of that in the Mideast
without the United States having to raise a finger in the name of oil or
democracy or both. This isn’t the first time in history that we've seen
social cohesion and purpose coming out of violence. The rise of fascism in
Germany can almost directly be tied to the onerous effects of the Versailles
Treaty—which crippled the German economy. Marx said “religion...is the opiate of
the masses" and Raymond Aron famously titled his critique of Marxism as The Opium of the Intellectuals. But
the fact is that the history of the civilization records the search for varying
kinds of anodynes for despair. Some are benign delusions such as the notion
there is a meaning and purpose in the universe. But some addictive substances and beliefs can turn people into monsters, as the Grand Inquisitor chapter of The Brothers Karamazov demonstrates. Terrorism is civilization’s crack.
Monday, September 1, 2014
Labor Day or Judgement Day?
A holiday honoring labor is a bittersweet form of recognition considering our current economic realities. Thomas Piketty’s Capital in the Twenty-First Century is the sleeper of the season, but it provides cold
comfort, underlying as it does the growing disparity in wealth that
characterizes modern capitalist economies (and apparently hearkening back to the eponymous Das Kapital). As events in Ferguson and elsewhere
indicate apartheid is still alive, but economic disparities cut an even broader swath with the rich growing exponentially richer while those on the lower
end of the food chain (of all races and colors) struggling to see salary increases that cover inflation.
Economic disparities in turn translate into educational ones in which a small
class of students coming from affluent backgrounds are educated at a level in
which their less fortunate peers can hardly compete. “Generation Later, Poor are Still Rare at Elite Colleges,” (NYT, 8/25/14) read a recent Times headline. In his Economic and Philosophic Manuscripts of 1844, Marx dealt with the nefarious effects of
industrialization. Economy of scale created the need for division of labor
that alienated the worker from the product he or she was creating. The monotony of the
assembly line epitomizes this condition. But the characteristic of the our new
society is the dichotomy between those who work and those who profit from other
people's work, with the rewards of the
latter becomingly increasingly out of sync with those who labor by the sweat of
their brow. Yes it’s a free market, but how does one justify hedge fund
managers and venture capitalists who make millions, even billions by hitting a
button, while doctors, lawyers, accountants constitute a professional class which is increasingly hard put to pay tuitions for their children at the self-same elite
colleges they once attended. As alumni their children’s applications may have
been favored, but the privilege is a two-edged sword when the tuition bills arrive. In the l950’s educated professionals were still at the top of the
heap, but in our current economy many highly educated people spend years paying
off their college and graduate school debt only to be faced with the reality of
decreased buying power and even further debt. And this doesn’t even take into
consideration the problems of blue collar workers who are threatened with the
potential insolvency of the safety net provided by the social security system.
Retirement is increasingly becoming a luxury that fewer blue or white collar
workers can readily afford.
Friday, September 20, 2013
Social Darwinism Redux
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Herbert Spencer |
Jerry Z. Muller’s essay “Capitalism and Inequality” (Foreign
Affairs, March/April 2013) addresses a central issue our time: “the rise of
economic inequality.” The disparity in educational opportunity and achievement is also addressed in the piece. Marx’s Das Kapital and Adam Smith’s The Wealth of Nations are two of the great modern primers on capitalism. But
Muller is no slouch in analyzing the rise of “market mechanisms to
control the production and distribution of... goods and services” in the
“seventeenth and eighteenth centuries. “Throughout history, most households had
consumed most the things that they produced and produced most of what they
consumed,” he remarks. “Only at this point did a majority of the population of
some countries begin to buy most of the things they consumed and do so with the
proceeds gained from selling most of what they produced.” It’s like like e=mc2,
a simple equation whose implications hit you right between the eyes.
“Commodification—the transformation of activities performed for private use
into activities performed for sale on the open market—allowed people to use
their time more efficiently, specializing in what they were relatively good at
and buying other things from other people.” Though increasing political freedom
may have lowered the bars preventing some classes previously excluded from
participating in such commodification, Muller concludes “that the inequality
that exists today….derives less from the unequal availability of opportunity
than it does from the unequal ability to exploit opportunity.” Here is where
Darwin comes into play or is Herbert Spencer who coined the term social Darwinism more apropos? Why do some people succeed while others don’t? And why should some activities be rewarded so handsomely while others
aren’t? Teachers receive low pay while a small group of global venture
capitalists make fortunes that are greater then the GNP of certain countries. Further, how many of those who chose less remunerative work do so because they like
it rather than out of fear that they would not succeed in a more competitive
arena? Globalization has exacerbated these inequities since those elites that have attained knowledge and power tend to dominate an ever larger marketplace
(whose transactions take place in the cybersphere, where social media increase
opportunities for exploitation at an exponential pace). From a trickle down
economic perspective, one might say, so what? But what are the ramifications culturally and psychologically--which inevitably brings us back to the
question of education. A small percentage of the population around the world
is receiving a increasingly higher level of education while the rest of the
world’s population just gets enough to make them marginally employable.
Muller’s analysis of economic inequality is thus a paradigm of the inequities of
education both here and abroad. Muller concludes by quoting Marx and Engels to the effect that “what distinguishes capitalism from other social and economic systems is its 'constant revolutionizing of production, uninterrupted disturbance of all social conditions, {and} everlasting uncertainty and agitation.'” However the loss of the incentive to grow and produce is the price that must be paid by societies that attempt to seriously ameliorate the inequitable conditions in which they formerly thrived. If this is dysfunctional sounding, it’s, at the same time, a state of affairs that has its own, albeit inhumane, logic n’est pas?
Tuesday, February 19, 2013
Yea or Nay (Sayers)
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