Dark Matter, REPOhistory Lower Manhattan Sign Project REPOhistory, Creative Tools 4 Critical Times. Committed to Print MoMA , New Museum Dark Matter: Art and Politics in the Age of Enterprise Culture (Marxism and Culture) [Gregory Sholette] on *FREE* shipping on qualifying offers . The book Dark Matter: Art and Politics in the Age of Enterprise Culture, Gregory Sholette is published by Pluto Press.
|Published (Last):||24 June 2012|
|PDF File Size:||7.51 Mb|
|ePub File Size:||8.54 Mb|
|Price:||Free* [*Free Regsitration Required]|
Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Refresh and try again. Open Preview See a Problem? Thanks for telling us about the problem. Return to Book Page. Preview — Dark Matter by Gregory Sholette. gregpry
Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalised artists, the ‘dark matter’ of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a politically enga Art is big business, with some artists able to command huge sums of money for their works, shooette the vast sho,ette are ignored or dismissed by critics.
Gregory Sholette, a politically engaged artist, argues that imagination and creativity in the art world dar thrive in the non-commercial sector shut off from prestigious galleries and champagne receptions. This broader creative culture feeds the mainstream with new forms and styles that can be commodified and used to sustain the few artists admitted into the elite.
This dependency, and the advent of inexpensive communication, audio and video technology, gregorg allowed this ‘dark matter’ of the alternative art world to increasingly subvert the mainstream zholette intervene politically as both new and old forms of non-capitalist, public art.
This book is essential for anyone interested in interventionist art, collectivism, and the political economy of the art world. Paperbackpages.
Published January 5th by Pluto Press first published December 15th To see what your friends thought of this book, please sign up. To ask other readers questions about Dark Matterplease sign up.
Lists with This Book. Feb 27, Malcolm rated it really liked it Shelves: In this excellent book Greg Sholette develops that analysis further by demanding that we look at immaterial labour in more sophisticated ways.
To clarify the argument he takes one further step and focuses sholettr those who consciously and intentionally place themselves in the space of dark matter. These omissions are not a weakness of the text, and the groups selected allow Scholette to explore a range of important and underexplored issues in the political economy art in particular and cultural and immaterial labour more generally.
This is where the book became more useful for me, not as analysis of the artistic sector but in its exploration of the politics and practices of immaterial labour in cultural work.
In a sense then there is less dark matter in the economic sholett I work on, in part because the obesity moral panic has increased the profile of quotidian sport and exercise participation so our equivalent of folk and hobby artists is well seen even if it is to lament that there are not enough of them. I am not arguing these sectors are the same, but there are essential labour process parallels that we must explore — as there is with the fashion industry.
Amid all this, Scholette has a light touch and explores complex and demanding issues in an accessible way with a commendable avoidance of the dense often impenetrable language and exclusionary jargon as well as the tendentiousness that can often mar this area of work.
The issues he explores are essential for better understandings of changing character of labour in the contemporary neo-liberal world and its pervasive enterprise culture; all the more so as immaterial labour grows in profile and become increasingly important policy makers at local, regional, national and supra-national levels.
It would be a shame if the readership was limited and did not include policy makers and those of us in and around other sectors of the cultural industries.
In short, there is an awful lot in this rich drk text that deserves a wide academic and critical readership. Dec 06, Shaun rated it it was amazing Recommends it for: Sholette provides an invigorating if not occasionally dense investigation into collective and collaborative creative practice in the primarily American “Left”. Focusing on artists and work from the last thirty years which intelligently and actively seek alternatives to the entrenched “Art World” and “citadel culture”, Sholette pinpoints useful critiques and operating points for artists currently grappling with the challenge of working critically from a radical political perspective.
There’s Sholette provides an invigorating if not occasionally dense investigation into collective and collaborative creative practice in the primarily American “Left”. There’s also quit a bit in here about the lived reality of many who identify themselves as artists in the present American economy, with interesting points which many feel but rarely articulate with any value in regards to the majority’s relationship to the small percentage of artists who achieve “success” or Art World merit in the generally accepted way.
From details on the reality of job prospects post-MFA to the actual relationship most art school grads have to making a living often doing work which supports the Art World structure itself through museum and artist’s-assistant jobsthis book sholtte a lot to say that the predictable, knee-jerk anti-art dadk I’m used to skimming can rarely gregoory to in depth.
Other than the feeling that some of the book’s examples draw too heavily on projects Sholette was a part of, my other main complaint is that the book will occupy too many academic shelves and not be read by enough people outside the academy who could use the missive just as much if not more.
Vocabulary word I learned: Precariat – combination of the words “precarious” and “proletariat”, referring to a class of workers who experience little to no job security or control over labor, lacking consistent living wage or certainty of employment, typically holding multiple dead-end part-time jobs at one time to make ends meet [there’s nothing new about that first part, but it’s the later that feels more contemporary or, at least, sounds a lot like most of the people I know].
I ended up devouring this book and finding a lot of inspiration within it – admittedly my review rings really shallow given the depth of the concepts Sholette digs into! I had been quietly suffering through a couple years of creative “low” when I read this book, and the suggestions and examples the author provides hit very close to home in a welcome way.
Nov 06, C. Fewston rated it liked it. Art and Politics in the Age of Enterprise Culture by Gregory Sholette is a collection of essays that distinguish the two classes of art: High art light matter is viewed as all art that is nationalized and well-known. Low art dark matter is considered all art that is out there but relatively unknown by the general public but known on a much smaller scale. Gregory explores these issues, as well as the differences between professionals and amateur Dark Matter: In the United States there is a crises happening not only on mattet streets with police brutality but also in universities with the slashing of tenured jobs and the hiring of part-time professors.
When that day comes, Americans will wake up with eyes no longer disillusioned by their own greatness. Digital technology also sholetye like a prosthetic memory permitting the excluded to document and narrate ephemeral, every day activities and overlooked forms of expression or resistance. And it is this very common denominator among grefory persecuted citizens that empower them to stand as one.
I believe the world needs art now more than ever. But it seems the elite and dakr precocious few fueled by greed think otherwise.
How can gfegory place such a value on art? Who is to sit back and judge intrinsic worth by placing a monetary figure on it? Unfortunately this kind of narrow mindedness penetrates all walks of life in America.
From fast food chains profiting billions, avoiding taxes, paying workers unlivable wages to publishers motivated more by profit rather than enhancing gregoty to empower and enrich society the issue is profoundly evident to me: And the human race is evolving, waking up, taking to the streets now more than ever.
The police are there to protect the wealthy and not to protect basic human rights. And this is the crises we see happening between high culture and low mztter, and it certainly reflects in the choices produced in art.
Printed Matter, Inc.
Critical is derived, of course, from crises. And despite this book being three years old, the tensions unfolding throughout the United States, and the rest of the world like it is in Hong Kong, are clear.
The human race is witnessing a turning point, a splintering if you will, of its own moral and spiritual evolution. And much of this can be seen through art and the treatment of both amateurs and professionals.
Or if they found an alternative to gegory by creating a Peer-to-Peer P2P network of support and direct sales bypassing art dealers, critics, galleries, and curators?
Indeed, to some degree this has already begun to take shape via media applications of Web 2. The elite have lost their most prized luxury: With anonymity comes distance, safety, invisibility and control and, thereby, the increase of power. This power ranges from the most mundane issues like employee morale to the issues of wages, brutality, excessive force, and this power even reaches into the hearts and minds of the citizens through art. The aim of this book is to raise an inevitable question: What then would become of its value structure and distribution power?
And the American people are getting fed up with a tipped scale that is constantly in favor of the ones with their finger immorally balancing the odds against the actual majority, the low culture represented in dark matter. Here at this Site a reader who wants to know more about a book can do so without the political-and-media-trappings that often go into paid-by-the-publisher critical reviews. If high culture, as Tolstoy considered it, continued to be in control of Art and its future development, then society would ultimately suffer.
Dark Matter by Gregory Sholette is an enlightening read that has interconnected art in its varying forms through society and its ever changing patterns in the distribution of power, the wealth of the people and the economy, and the fundamental belief in the pursuit of happiness.
Dark Matter: Art and Politics in the Age of Enterprise Culture by Gregory Sholette
Although this book is a dry, slow page turning text created in the trenches of academia, the world is certainly better for it having been published. Keep reading and smiling… Apr 18, Stefan Szczelkun rated it it was amazing. Sholette seems to veer from a passionate belief in the disturbing, if not revolutionary, power of dark matter: This is really a diary or compilation of his efforts, thoughts and various involvements, and I think I had hoped for his own subjective engagements to be more explicit and less academicised.
The reason for this focus on a very particular stratum of dark matter would then be more organic and less arbitrary. A global study of dark matter would take the kind of team effort and resources that go into compiling a major dictionary or encyclopaedia. The key question may be how any such institution could maintain its revolutionary integrity whilst carrying out such a task. Sholette has invented a useful term that might well be taken up, and gives us a sporadic view of resistance through political art, but his style of authorship in Dark Matter is too conventional.
Cultural resistance is no new thing. Or, perhaps, these are two sides of the will to power in the oral realm, the struggle from below. This book certainly allows us to give a name to, and begin to focus on, the creativity and cultural resistance that exists outside the art world proper.
It may be flawed and partial, but it represents a good start towards developing a discourse that I think needs to embed itself outside of the academy — within the fields of dark matter itself. These are from the last paragraphs of my long review over at Mute: Aug 31, Criticalfreeschool rated it liked it Shelves: Didn’t exactly rock my world; I read chapters which were usefulskimmed the rest. Overall, too much focus on culture jamming experiments of the past, not enough freshness the book came out in That just makes me grumpy.
Todd rated it really liked it Aug 24, Pippypippy Madden rated it really liked it Aug 05, Di-ay rated it really liked it Mar 05, Rebecca rated it liked it Dec 26, Lily Alan rated it really liked it Aug 17,