Julian Stallabrass's Art Incorporated: The Story of Contemporary Art offers a cynical but exceedingly true insight into the realm of art as commodity. Unlike the utopian ideal many have regarding art as an autonomous aspect of cultural production unmarred by politics and the economy, Stallabrass illuminates a far more unfavorable reality.
He emphasizes the role of the neo-liberal economy, developed after the second World War, in framing and changing art production post 1945. He goes on to call the changed economy the "new world order" in which countries that were previously isolated began to trade with the world economy and make considerably more money. Free trade in a free economy, which Stallbrass refers to as a "zone of freedom" was a huge transition for countries like Cuba, China, and Japan, and the process of dealing with this drastic transition can be noticed in pieces produced during this time (6). As the world market quickly began to get smaller and smaller as trade and interaction began to occur almost instantaneously with the development of technology, particularly the Internet, the art market slowly began to homogenize. Originality soon seemed impossible to achieve.
A particularly compelling aspect is Stallbrass's commentary on "the art world." It is impossible to deny that there is some sort of inevitable "change" that occurs when an artist brings his or her work into the public eye. It is no longer safe in the studio; it has just entered the unavoidable "art world" and is subject to the scrutiny of all eyes that view it. Stallabrass quotes Xu Bing, a Chinese artist, as saying "Handing one's work to society is like driving animals into a slaughterhouse. The work no longer belongs to me: it has become the property of all the people who have touched it. It is now concrete and filthy" (66). Though the slaughterhouse metaphor is quite dramatic, this quote illuminates the struggles artists face when introducing their pieces to the art world.
Stallabrass points to the fact that, in general, the people of today's world are major consumers. We do not just go to Starbucks daily and spend 0 every trip to the mall, we also consume culture. This phrase, when looked at closely, is rather frightening. Culture, like art, is something that should remain untouched and autonomous from the corruption of the outside world. This is not the case, however, and art objects and cultural objects are currently being bought, sold, and traded like stocks and bonds. They are not just considered status symbols for the culturally elite or sophisticated academics, these art pieces are hard cash - investments. With money, of course, comes corruption. As Stallabrass states, "both making and selling are unusually controlled in the art market" (101). This concept appears to limit the freedom of the artist, having to please patrons and knowing ahead of time just how much his or her piece will most likely be sold for.
In the final chapter "Contradictions," Stallabrass states that "art overruns the borders of local particularity, aiding the transformation and mixing the world's cultures and economies" (186). He suggests this after discussing the role that art has played in creating social interaction by engaging viewers in anti-capitalist ventures to re-evaluate society. Therefore, the homogeneity of the art world is not always a negative trait; it can aid in spanning cultural and economic barriers to convey the "bigger picture" to a broader audience. As the title of the chapter so blatantly reveals, there are an overwhelming number of contradictions in contemporary art, including the concept of the word "contemporary." As Paul Virilio so cleverly states, "contemporary with what?" (176).
What is in store for the future of the art world? This is unclear, and Stallbrass never really states a solution to this problem. Instead, it appears as if he thinks that it is essential to be aware of the current situation. It would be ignorant for artists and art historians to continue to produce and analyze art without taking into account the fact that art has become a form of capital. All is not lost, though, and he is not going as far as to say that art production is futile and art historians serve no purpose, instead he uses his cynicism as a way to emphasize the reality of the situation at hand.
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Author: Julian Stallabrass
Edition: 1st
ISBN: 0192801651
Number Of Pages: 240
Languages:
Unknown: English
Original Language: English
Published: English
Product Description:
The art world is bound to the economy, writes Julian Stallabrass, "as tightly as Ahab to the white whale." In Art Incorporated, Stallabrass offers a provocative look at contemporary art and the dramatic changes that have taken place in the last twenty years, illuminating the connections between money, politics, and art. Stallabrass notes that the spectacular crash of 1989 profoundly changed the character of contemporary art, shattering the art-world's self-importance and producing a reaction against art that engaged with theory and politics, in favor of art that set out to awe, entertain, and be sold. He describes the growth of biennials and other art events across the globe in the 1990s, the construction of new museums of contemporary art, and the expansion of many museums already in existence. These activities, Stallabrass writes, have become steadily more commercial, as museums establish alliances with corporations, bring their products closer to commercial culture, and move from modeling themselves on libraries to becoming more like theme parks. In connection with this, he offers an insightful look at installation art, which is often seen as an art that firmly resists buying and selling, pointing out that installations appeal to museums precisely because a work of art that can only be seen on a particular site ensures that viewers have to go there. Shedding light on everything from the greatly increased visibility for women artists, to the intense competition between art and television, to the conservative backlash against notorious works, Art Incorporated provides a frank and penetrating view of the contemporary art world.
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Customer Reviews
ART inc.
Art Incorporated: The Story of Contemporary Art by Julian Stallabrass discusses the post-cold war role of art in a globalized, neo-liberal economy. Through examples of artists and their work, Stallabrass introduces the reader to the art world and global market on which it relies, critiquing the relationship between the two. Ideas are presented to the reader in six chapters, each tackling a different theme or concept associated with contemporary art. He begins by examining the illusion that art exists in a "zone of freedom" apart from the "rules and conventions"(1) of everyday life. Although the subject matter of contemporary art appears to challenge the conventions of mass culture, the art itself relies on wealthy patrons and a commodity driven culture to exist. Stallabrass follows changes in the art world as they coincide with the global financial world. It is pointed out that in times of excess, art that awes and entertains is highly desired, while during recessions, art that reacts to politics and deals more with reality is popular (24). While the sale of contemporary art follows trends in the global market, as the sale of all commodities do, the subject matter of the work itself is also influenced by the state of the world economy.
In "New world order", the second chapter of the book, Stallabrass discusses the recent phenomenon of contemporary art biennials. Since the end of the cold war, the art world has followed the corporate model of searching out business in new markets- the biennial being an excellent example. He claims that while these art fairs seem to benefit and highlight work by local artists in the communities in which they are held, they are in fact just set up to boost tourism and attract attention to corporate sponsors while "addressing the cosmopolitan art audience rather than the local population" (41). This elite, cosmopolitan audience has a taste for work that "speaks to international concerns" (42) leading to the creation of work that in return feeds into this system.
In "Consuming Culture", Stallabrass discusses the relationship between the economy, art and consumer culture, stating that Contemporary art has become just another item to be consumed. "As commodities have become more cultural, art has become further commodified... it has become increasingly integrated into the general run of capitalist activity" (81). This idea is expanded in the next chapter, "Uses and prices of art" which describes the business of and corporate relationship to art. This chapter is sufficiently summarized with the quote, "the fundamental contradiction is that fine art, from its archaic and protective enclave, propagandizes the very forces of neoliberalism that if applied to art would lead to its destruction"(149).
The autonomy of art as it relates to the theory and criticism of art and the art market are the topics Stallabrass explores in the fifth chapter "The rules of art now". Providing the views of the art world through the eyes of three writers on art, Arthur Danto, Thomas McEvilley, and Dave Hickey. Stallabrass concludes the book with a chapter on the contradictions of contemporary art.
Stallabrass' goal in Art Incorporated, is to introduce the reader to the idea that contemporary art is heavily tied to the global, neo-liberal economy that it appears to reject. He is successful in creating a thorough introduction, and although the ideas Stallabrass presents on the contemporary art world may seem negative, he does make a positive point: the globalization of the art market has allowed work from a more diverse group of artists to be considered- the art world is no longer dominated by white men making modern art.
Stallabrass Review
Art Incorporated, by Julian Stallabrass, is a critique of the very intertwined relationship that contemporary art has with mass culture and neolibralism, and how together they have perpetuated and directed the art market under the guise of `freedom'. Stallabrass first introduces us to the "Zone of Freedom", the idea that art operates in a world all its own, free from restriction. However, we quickly learn that this zone is an illusion, and that underneath art operates hand in hand with capitalism. Acting as the enabler, the sense of freedom needs to be present in order for "globalized art production" to succeed.
With globalization in full force, the biennial has taken charge as the main venue for celebrating artists in countries that may have not received recognition before. Stallabrass states, " The filtering of local material through the art system ultimately produces homogeneity...More specifically, it reinforces neoliberal values, especially those of the mobility of labor and the linked virtues of multiculturalism" (42). It acts as a smokescreen for displaying just enough `otherness' to attract the visitor (who is almost always not a local), while making them feel comfortable enough to purchase something. The biennial puts a strain on the local / global relationship in its attempt to highlight saleable items.
Moving on to the next chapter, Consuming Culture, Stallabrass suggests that, "the cultural expression (of neolibralism) is surely unrestrained consumerism" (73). He speaks about the undefined line between art and consumer culture and how they are mingling more and more as we become not just consumers of commodities, but consumers of lifestyle and ideals. Art contributes to this process by referencing culture, and vice versa. They are intrinsically linked.
Continuing in this vein, we are presented with the uses of art in `hybrid' items, such as handbags and vodka ads that not only act as promotional tools for corporations, but also add to the corporation's image, conveying what they want to be seen as to the public. This `outreach' by corporations to the arts extends further than that - to funding public awareness campaigns and donating funds to museums. All which then, in turn, promote their donors. "This conspicuous consumption simultaneously validates artist, museum, and sponsor...."(136).
After all of this, Stallabrass does suggest that perhaps, for a moment, we may be able to just appreciate and enjoy art for what it is and stop thinking about it. But, we must remember that the moment we do this, we sink into uniformity. There is no real way to experience the art without participating in the market that has made the work possible.
Stallabrass presents us with a very realistic, albeit pessimistic, view of the art market. I don't think he has forecast the demise of art; he leaves it open, perhaps to give the reader hope. I feel that having read this book I can approach artwork with a more informed view of the `workings' behind the art, and maybe that's the best situation we can ask for. Stallabrass offers us what I believe is an excellent starting point for more in-depth research.
Art Incorporated
Being a young ambitious artist, I read Art Incorporated once and developed a hatred for Julian Stallabrass. He paints a grim view of the contemporary art world-- to the point that I became ashamed to be labeled an "artist."
Then I read the book again and realized that perhaps it is not Stallasbrass that I hate, but the portrait that he paints of todays international art economy. Appropriately reading Art Incorporated today (in 2008), where our economy is in great hardship, I had a revelation. Not only does he remind me that unpredictability of mass culture, politics and the economy change do to money (or the lack their of), but the art world changes with the times as well.
Art Incorporated, by Julian Stallabrass gives an in depth history of the art world from the past 20 years. He takes you on a global journey, describing art and showing examples everywhere from Asia to Africa to Latin America and beyond. He attempts to answer how the economy has formed our (artists and observers) view of what "art" is and what "art" is used for.
Stallabrass begins the book by telling the audience that artists live in a "zone of freedom." He talks about the cultural lines which artists can cross, simply by creating art, and how the "wealthy" buy this work to "inhale the scent of freedom." His approach to beginning the book with such strong viewpoints is powerful and believe me, filled me with great emotion!
Alongside his discussion of "freedom" he introduces examples of work that is extreme and shocking, which is always fun to look at (expectantly if you are not familiar with these works).
He goes on to discuss how the Cold War changed the art world enormously. During this time, instead of artists creating works for shock value, and personal protest, he discusses how the government used these same artists to create propaganda in the US and abroad. His views of the post war art world is littered with pop culture and consumer ideals. He draws connections between the hardship of life and the change in the art market.
What I found the most interesting was Stallabrass's views of the ever popular biennial. The biennial, who's sole purpose is to bring international artists together and diversify locations around the world, is often a poor event for the host city. Stallabrass opened your eyes to the other side of these "wonderful cultural events" and plays devils advocate throughout.
He ends the book with ideas of how to "fix" the art market and by suggesting that artists use technology like the Internet to bombard the market with serious political art. He also goes as far as discussing the destruction of art as art (or a statement of).
I must admit, Art Incorporated was a bit difficult to digest at first but I do believe it is a book that will satisfy not only artists but activists that are interested in the strange relationship of money and "product" (aka art).
9/25/08 Review
In Art Incorporated, Julian Stallabrass presents readers with a cogent introduction to a narrative of contemporary art integrating the development of a global market, commodity culture, and postmodernism. Stallabrass phrases the core concerns of his analysis as "the regulation and incorporation of art in the new world order" (28). This "new world order" is post-cold war globalization of neoliberal values wherein art is commodified, homogenized, and commercialized.
I found that my initial reluctance to engage with the topic of Art Incorporated speaks to the pervasiveness of what Stallabrass suggests is an ideology of freedom which is perpetuated by contemporary art itself. Stallabrass says "to banish such crude considerations from the minds of its viewers, contemporary art must continually display the signs of its freedom and distinction from the mass, by marking off its productions from those vulgarized by mass production and mass appeal" (5).
Stallabrass notes that this "zone of freedom" works symbiotically with capitalism--positing free trade and free art to be a "system and its supplement" (6).
I hoped that, in this early part of the text, Stallabrass would encourage the idealists in his audience with some redeeming aspect of this `new world order.' And in the next chapter, Stallabrass does note the positive aims of biennials, the ideal of virtuous cultural mixing and enhancement of local artistic institutions. However, this moment is fleeting and the chapter focuses on the more glaring issues of global homogenization and the tensions surrounding biennials. Stallabrass highlights these circumstances where biennials disembody the ideals they purport to represent, instead functioning as a system through which local art is filtered, where "critical content is overlooked" in favor of that which speaks to international concerns and reinforces neoliberal values.
Stallabrass furthers his notion of art feeding a neoliberal economy in the chapter "Consuming Culture." He discusses the rise of cultural consumerism--as much about the immaterial (like brand names) as it is tangible products, and where art and business seem more alike than different. It is in this chapter that I found Stallabrass's most disheartening statement following his account of art produced without purported critical engagement: "Thus art, a material manifestation of exchange-value, approaches the condition of that most abstract of commodities, money..." (90). Here Stallabrass informs readers what becomes of art produced only for consumption.
After this especially bleak discussion of the shrinking distinction between art and commodity culture, I read the proceeding chapters hoping Stallabrass had an antidote in mind--some way to rescue art from its relegation to a position of mere capital. Even though Stallabrass explores "opportunities for the exploitation" of the contradictions in contemporary art in his final chapter, this was hardly the antidote I was looking for. In reality, an antidote was not Stallabrass's project.
Julian Stallabrass has provided his readers with a thoroughly engaged discussion of a perspective on contemporary art rarely found contemporary art discourse--an aspect of this book that renders it valuable as a starting point for future discussion as well as enrichment for current debate.
