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The Painted Protest, by Dean Kissick

As art would no longer respond to itself, and no longer had any constraints, other human activities could be drawn from the world into its hungry maw. Art was no longer moving forward. Individual artists were free to consume the present, swallow other cultural forms, and twist them into new experiences.

Dean Kissick • The Painted Protest, by Dean Kissick

The art of the past no longer exists as it once did. Its authority is lost. In its place there is a language of images. What matters now is who uses that language for what purpose. This touches upon questions of copyright for reproduction, the ownership of art presses and publishers, the total policy of public art galleries and museums. As usually

John Berger • Ways of Seeing

‘They Want to Own the Artist’: Inside the Making of ‘The Brutalist’

David Fear rollingstone.com

Post Cards from America: X-rays from Hell

A personal narrative reflecting on life, death, and the AIDS crisis, exploring fear, societal indifference, the struggle for representation, and the urgency of public acknowledgment of grief and mortality.

artistsspace.org

Marxist art historian T. J. Clark.

Sarah Thornton • Seven Days in the Art World

Marker is working at a moment when, in France and elsewhere, there is a growing sense of the deadening effects of a standardized and image-saturated culture.

Jonathan Crary • 24/7: Late Capitalism and the Ends of Sleep

His work is one of the great literary accounts of the psychic costs of reification, of what he calls “a peculiar malign abstractness” within the culture of mid-twentieth-century capitalism.

Jonathan Crary • 24/7: Late Capitalism and the Ends of Sleep

Art, which had previously been a way to produce discursive polyphony, aligned itself with the dominant social-justice discourses of the day, with works dressed up as protest and contextualized according to decolonial or queer theory, driven by a singular focus on identity.