Markus Diehl, aw. Installation has two marked advantages. The first is in the continuing competition with mass culture—how to persuade an audience to travel to a museum or other site rather than watch television, go to the movies, a gig or a football match, or shopping. There has been an intensification of competition here, a vying for spectacle, with television to take one example, transforming itself with large, wide screens, high definition and DVD recording as the museums continue their own commercialisation. In part, as we have seen, art sets itself off from mass culture by its handling of content. Aside from that, what the reproducible media cannot simulate is the feeling of a body moving through space surrounded by huge video projections or work that has weight, fragrance, vibration, or temperature.
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Markus Diehl, aw. Installation has two marked advantages. The first is in the continuing competition with mass culture—how to persuade an audience to travel to a museum or other site rather than watch television, go to the movies, a gig or a football match, or shopping.
There has been an intensification of competition here, a vying for spectacle, with television to take one example, transforming itself with large, wide screens, high definition and DVD recording as the museums continue their own commercialisation.
In part, as we have seen, art sets itself off from mass culture by its handling of content. Aside from that, what the reproducible media cannot simulate is the feeling of a body moving through space surrounded by huge video projections or work that has weight, fragrance, vibration, or temperature.
Installation, that allows a space to be inhabited, rather than merely presenting an art work to be looked at, thus comes to the fore. In this battle over spectacular display, artists and museums have avidly seized on new technology, especially digital video and video projection. Mori, whose piece was custom-built in a car factory.
Salcedo at Liverpool. In this way, installation and site-specificity are linked to the globalisation of the art world, and an art used for regional or urban development. Given that this is now the regular strategy, the necessity of being there has become another way to confirm social distinction on the viewer as only slight exposure to art-world chatter, so often fluttering about the latest exotic jamboree, will confirm. Installation again, broadly taken is associated with spectacle and competition with the mass media.
Contemporary installation is expensive and is generally reliant on private or public funding. It must continually display the signs of its freedom and distinction from the mass, by marking off its productions from those of cultural products bent to the vulgar forces of mass production and mass appeal. It often makes a virtue of obscurity or even boredom to the point that these become conventions in themselves. Yet, naturally, all of this ends up being somewhat consoling, for its over-arching message is that such a zone of freedom can be maintained by the instrumental system of capitalism.
Chris Ofili, Pimp, Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, Charles Ray, Female Figure in progress , Ron Mueck, Big Baby, Gabriel Orozcco, La DS, Gabinete Ordo Amoris, Taxi-Limousine, However, and most dangerously for the ideal of unpolluted cultural freedom, it is possible to see free trade and free art not as opposing terms but rather as forming respectively a dominant practice and its supplement a dependent but necessary addendum to the main track of the world economy.
So the tireless shuffling and combining of tokens in contemporary art in its quest for novelty and provocation to take some well-known examples, sharks and vitrines, paint and dung, convincing simulacra at odd scales, slimmed down cars closely reflect the arresting combinations of elements in advertising, and the two feed off each other incessantly.
As in the parade of products in mass culture, forms and signs are mixed and matched, as if every element of the culture was a fungible token, as tradeable as a dollar. Furthermore, the daring novelty of free art, and its continual breaking with convention at least, so curators assure us is but a pale rendition of the continual evaporation of certainties brought about by capitalism itself.
Corporate demands on art have become more widespread and systematic. Business enters partnerships with museums or artists in which the brand of one is linked with the brand of the other in an attempt to inflate them both. Among the systematic effects that corporate decision-making has had on the arts are the emphasis on the image of youth an attempt to capture youthful, sophisticated but jaded consumers long inured to the effects of advertising , [Peyton] the prevalence of work that reproduces well on magazine pages, and the rise of the celebrity artist.
Aside from these immediately commercial concerns, corporations have been involving themselves in programmes that widen access to the arts, or link it to progressive social causes.
Their involvement in such causes produces a double effect: to draw in a diverse or disadvantaged audience, partly in the hope that upward mobility may produce future consumers, and mostly to assure the elite audience for art that what they are seeing are not merely aesthetic sweeties the consumption of which is haunted by guilt but also phenomena of worthy social significance.
Tate Modern Detroit Ford Model T Automobile Plant The Millennium Dome Recent state demands on art complement those of the corporations, for both have similar interests in fostering social calm, cohesion and deference in the face of the gale of creative destruction that the economic system they are committed to propagating continually gives rise.
There are similar moves in the US where National Endowment for the Arts funding, long under successful attack from conservative politicians, is justified on the grounds that art has a role to play in social programmes, including crime reduction, housing and schooling.
The danger of such moves—highlighted in a survey of attitudes entitled Art for All in which there is much moaning about state direction of the arts—is that in revealing the instrumentality of art, they also reveal with too much clarity the relationship between art and the state, which is most useful, after all, if it is thought to be founded on idealism and eternal human values.
The progressive and regressive aspects of this process are inextricably related. Local resistances are defeated, and in many places local conditions worsen as a result. Equally, it prepares the way for greater integration, for the evolution of wider solidarities and actions, which have indeed been emerging. First, there is iconoclasm. Involving the dematerialisation of the art work in data, which can sidestep many of the factors governing the mainstream art world: ownership, curating, state and corporate demands.
Most of all, it can offer art a use. That the very concerns of art—creativity, enlightenment, criticality, self-criticism—are as instrumentally grounded as what they serve to conceal—business, state triage and war—is the consideration that must be concealed and can be, because local liberation offered in the production of art and its enjoyment are genuine. Art celebrates as freedom all that is forced upon us. There, at least, everything is freedom, in this world of fictions.
There one is satisfied, does everything, is both a king and his subjects, active and passive, victim and priest.
No limits; humanity is for you a puppet with bells you make ring at the end of his sentence like a buffoon with a kick. Flaubert more than implies that the free mastery of the artist and reader or viewer is a cruel power. While they may open a utopian window on a less instrumental world, they also serve as effective pretexts for oppression. To break with the supplemental autonomy of free art is to remove one of the masks of free trade.
Or to put it the other way around, if free trade is to be abandoned as a model for global development, so also must be its supplement, free art. See www. Their Policies and our Culture, Peer, London
Julian Stallabrass: Contemporary Art in a Neoliberal Climate
In he selected the Brighton Photo Biennial and from the catalogue of which he edited the book Memory of Fire:Images of War and The War of Images  Stallabrass was highly critical of the Young British Artists movement, and their works and influence was the subject of his study High Art Lite, a term he coined as a disparaging synonym to the pervasive YBA acronym: "As the art market revived [in the early- to mid- s] and success beckoned, the new art became more evidently two-faced, looking still to the mass media and a broad audience but also to the particular concerns of the narrow world of art-buyers and dealers. To please both was not an easy task. Could the artists face both ways at once, and take both sets of viewers seriously? That split in attention, I shall argue, led to a wide public being successfully courted but not seriously addressed. The Institute has put him under investigation before the start of its academic year and is said to be in the progress of developing a sexual assault policy for the first time in its history.