ISSUE 75 (SPRING 2023): The Museum Issue
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ISSUE 75 (SPRING 2023): The Museum Issue
The same thing that is happening to journalism, to restaurants, to bookstores to Hollywood, to everything beautiful and interesting in this country, is happening to art. Jobs are disappearing. Venture Capital funds are getting involved. In early 2020, 1,350 jobs were cut at American museums. What was barely profitable is now being gutted with the g... See more
What Do We Do With The Big Business Of Immersive Art? | Defector
In today's world, capital is not scarce; ambitious visions for the public's benefit are.
Sam Hart • Positive Sum Worlds: Remaking Public Goods
This is a cruel confluence of time and space: just as we lose noncommercial spaces, we also see all of our own time and our actions as potentially commercial. Just as public space gives way to faux public retail spaces or weird corporate privatized parks, so we are sold the idea of compromised leisure, a freemium leisure that is a very far cry from
... See moreJenny Odell • How to Do Nothing: Resisting the Attention Economy
First the Bundeskunsthalle would send fees to the artist subdomain. The owner of that account would then use those funds to purchase travel, accommodation, raw materials, all that is required for the event, and send the remainder to each artist’s address. With this system, the entire value chain is transparent for everyone to audit.
Toby Shorin • Curating Value Exchange: Presentation + Q&A with Hito Steyerl
So much of what we see in galleries is responding to the imperative to overproduce, overenlarge, overconsume, and for artists with ascending and funded careers this trajectory can seem all but unavoidable. As Roberta Smith points out, the primary meaning of these works is often: “I made this because I can.”
Moyra Davey • Index Cards
Another successful defense of society against the culture within itself is to give artists a place by regarding them as the producers of property, thus elevating the value of consuming art, or owning it. It is notable that very large collections of art, and all the world’s major museums, are the work of the very rich or of societies during strongly
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