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Rachel Hilbert, model, and Miss USA 2015, Olivia Jordan get acquainted with some of the stars of the evening in the bull pens at a PBR event at Madison Square Garden in New York City. Miss USA 2015, Olivia Jordan and model, Rachel Hilbert pose with the Professional Bull Riders trophy at an event at Madison Square Garden in New York City. Miss USA 2015, Olivia Jordan gets an overview of Madison Square Garden before the PBR event began. Miss USA 2015, Olivia Jordan poses with the Professional Bull Riders trophy at an event at Madison Square Garden in New York City.
Miss USA 2015, Olivia Jordan heads backstage to meet with a bull at the PBR event at MSG on Friday. Miss USA 2015, Olivia Jordan and model, Rachel Hilbert pose for a selfie with a Twitter Mirror and the Professional Bull Riders trophy at an event at Madison Square Garden in New York City. Pointing to the avarice of the art world, to its entanglement with big money, is an old game. Some of the issues include, but are not limited to: The increased professionalization of artists through the recent introduction of the MFA degree, the increased importance placed on the name-brand pedigree of such degrees and galleries, the collection of art by major investment banks, the sudden existence of a professional class of arts administrators (consultants, handlers, grant-writers, publicists, “outreach” specialists, educators, fundraisers, journalists, curators) all of whom generally only serve each other while often claiming to serve a public interest, the development of a specialized vocabulary for the discussion of art, the rise in prominence of art fairs modeled on other commercial trade fairs, the evisceration of critical and legible writing about art, the development of glossy trade publications consisting primarily of advertising, the loss of distinction between for-profit and not-for-profit galleries, the colonization of museums by corporate interests, and so on and on and on. Yet even if these issues could be easily set aside, or at least mitigated by arguing that these are just issues for the elite of Chelsea and do not apply to some other happy pockets of the art world (in Minnesota, Berlin, or even Brooklyn), there is another way in which capitalism’s contemporary operations are very well represented even (perhaps especially) in these zones in which it might seem least apparent.
This somewhat audacious claim is rendered intelligible in the context of the theory of contemporary capitalism presented by Boltanski and Chiapello’s New Spirit of Capitalism. In the Projective City the general standard with respect to which all persons’ and things’ greatness is evaluated is ACTIVITY. So described, the connection between “emerging” artists and contemporary capitalism isn’t quite so audacious. Furthermore, my point is not that the emerging artist is more of a capitalist than Donald Trump, but that she better represents the new spirit, and that the gap between them is not nearly as large as is sometimes supposed. The exciting question then becomes for all us (artists or not): How to live in an often stupid and nasty world without ourselves becoming stupid and nasty?
Directly related: here is a discussion with Luc Boltanski on the meaning and future of artistic critique, introduced with a text by JEQU published by Primary Information. Kids Dentistry Center We offer the best in Preventive, Esthetic, Restorative and Diagnostic dentistry for the whole family. Portrait of Danny Gherman taken outside of The Salon at Lincoln Center during Fashion Week 2014 after the Betsey Johnson Runway Show.
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Reproduction in whole or part in any form or medium without specific written permission is prohibited. Concerns about the “corrupting influence” of the market are likely as old as the market itself, and are still voiced with some frequency.
Because the “art world” differs so very little from what is more fairly called the “fashion industry,” it is little wonder that so many along with Hickey find it stupid and nasty.
In fact, arguably the eager emerging artists are better representatives of the workings of contemporary capitalism than its usual icons like Donald Trump. Very briefly, one of their key ideas is that we who live in the third age of capitalism now inhabit something they call the “projective city” (in contrast with previous periods justified in reference to the “domestic city” or the “industrial city”). Reading this book while running a Brooklyn gallery gave me the impression that at times the authors were in fact writing about myself, my friends, and the legions of hungry artists I came in contact with. Attending cool parties, meeting cool people, forming plans, collaborating to put on a show — what could be more fun than that?
Given that artists can no longer realistically maintain any kind of unique status above the fray, so to speak, can artists help us find ways to forge kinder and gentler (or at least smarter and less nasty) ways of inhabiting the projective city? In relation to the artist this is particularly interesting (as you say) – we (theorists) have spent much time arguing and revoking the idea of the artist as either a isolated genius or as a social being who is part of an art world.
The book is enormous, but worth at least picking through (there is also a shorter essay that preceded the book).
Another local artist, Steve Lambert, announced he would give up his prize money if he won a recent competition, because of where the money was coming from. Marina Krepkh received her dental degree at New York University College of Dentistry and her Specialty in Pediatric Dentistry from Maimonides Medical Center. Mila Cohen received her Doctor of Dental Surgery from the New York University College of Dentistry in 2011. Two years ago critic and art world bad boy Dave Hickey apparently gave up the whole thing in disgust, dismissing the entire art world as “stupid and nasty.” More recently David Bryne caused a surprising ripple of ire by describing how the big money of the Chelsea art scene was making it difficult for him to give the work itself a fair viewing.
Often in this new world, we no longer simply have straightforward jobs, but instead manage a portfolio of diverse “projects,” involving a wide range of work-like activities within a network of other people. For really, such artists are in effect budding entrepreneurs, attempting to sell the brands that they have become. This is what makes contemporary capitalism so interesting and so complex, the way in which patterns and techniques typically associated only with the easy target of corporate life now easily blend and blur with life on so many other levels, even in creative areas we might assume to be most opposed to it. Rather like how tourist literature presents us with the vision that there are places and scenes far removed from our dull workaday world where people only eat coconuts and go kite-surfing, where we are free from capitalistic concerns.

Now, it is not just the work of art that can be sold but the artists social existence – thinking about social media (how much money does Facebook make from each profile? She completed her General Practice Residency at Maimonides Medical Center in Brooklyn, NY, and her Pediatric Dental Residency at the Interfaith Medical Center in Brooklyn, NY. However, the issue of contemporary art’s relationship to capitalism is more complicated and thorny than being merely a matter of the staggering prices demanded at elite galleries. The most successful figures are those who are able to function as a central hub in an extended network, linking together crucial players to collaborate on an ever-expanding range of diverse activities. They are not only the producers of a product, they are also its primary advertisers, wholesalers, and often retailers. Surely capitalism is more about the endless acquisition of, well, capital, not merely about collaborating on projects?
So, if you take my point here, dentists by and large don’t generally present themselves and their work as some sort of alternative, as autonomous, or as a site of critical activity. Krepkh dedicates herself to prevention and treatment of dental problems of infants, children, and adolescents.
The key to success today is to be well-connected, to be as much as possible the “who” in the common phrase “it’s who you know,” for this is what enables connections to future projects and maintain, with shark-like necessity, constant motion.
Success on any level depends almost entirely on network performance, the ability to coalesce with others around diverse projects. Artists, particularly emerging artists (though obviously so huge a generalization is difficult), frequently DO see their activity as not merely neutral, but as actively and deliberately different. Still, such practices are few and far between, and honestly I think they face another batch of problems (but that’s another article!). All contacts are potential partners on a project, potential platforms for network extension. Being a contemporary artist without giving up the common moral prohibition on instrumentalizing other humans is almost impossible, as contemporary success is defined entirely by a marketplace whose workings utterly require such instrumentalization.

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