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Authors:
Jan Sowa
Abstract: What the convergence of the American and Central European political discourse seems to prove is that social conflicts in the era of the global market economy are centered around three main axes: (1) distribution of wealth, (2) destruction of the traditional family along with historically prevailing gender roles, and (3) migration and race. Any progressive political project has to, in one way or another, define, frame, and address those clusters of problems, creating a narrative capable of mobilizing and channeling the social desire away from the conservative-populist alley. In this context the only difference between Left and Right is that the latter, starting from the 1970s, became gradually more and more proficient in translating the real social tensions into the phantasmatic language of populist politics. PubDate: Thu, 12 May 2022 01:26:45 +000
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Authors:
Chris Gortmaker
Abstract: The Peoplemover does not merely transform what might otherwise be wall-hung or anthology-bound works of concrete poetry into tools for protest; it more fundamentally demands interpretation of what such a transformation of art into activism means in 1968. Solt’s “demonstration poem,” as she calls it, is a revealing engagement with the formal problematics of concretism and the historical contradictions concomitant with the rise of New Left protest politics in the U.S. PubDate: Thu, 12 May 2022 01:24:29 +000
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Authors:
Matthew Bowman
Abstract: In the encounter with another, seeing is always already reading. Expression, here, appears another name for the allegoresis of the soul as it unfolds into visibility—that is, legibility—by way of the body, with all the opportunities for misreading that inevitably follow. Yet there is no other, notionally more direct way for it to show itself. Warnock approaches Hantaï’s paintings as fields of expression in roughly this sense: places where thought becomes visible, where Hantaï works out ideas that necessarily take just this form. PubDate: Thu, 12 May 2022 01:22:14 +000
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Authors:
Éric Michaud
Abstract: All of Cézanne’s “theory” seems to come down to what he calls "realization," an operation of conversion that he was the first modern painter to attempt. Critics had a premonition of it, condemning his “too exclusive love of yellow” and warning the public: “If you visit the exhibition with a woman in an interesting position, pass quickly by the portrait of a man by Mr. Cézanne… That strange-looking head, the color of boot cuffs, could make too vivid an impression on her and give her fruit yellow fever before its entry into the world.” PubDate: Thu, 12 May 2022 01:20:47 +000
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Authors:
Zine Magubane
Abstract: The blinkered vision of the leading voices in contemporary race theory when it comes to the politics of the present is also linked to how they misunderstand the past. Because their analyses are primed to search for continuities in anti-Black racism over time, they tend to ignore an equally pernicious and consistent factor in American history—the assault on organized efforts by working people of all races to challenge the power of capital, to evade or undermine the power of the wage relationship and market compulsion, and to harness the power of the state to put the needs of working people above the pursuit of capitalist profits. Ironically, contemporary race theorists’ ignorance of the political economy of “anti-racism” in the past has meant that the conceptual anchors upon which they build their analysis—racial community and racial interest—and the cognate construct to these, “race relations,” are actually Jim Crow era formulations. In their vigorous promotion of these ideas, they can be seen as intellectual architects of the very thing that their scholarship purports to reveal and thereby dismantle—a “new” Jim Crow. PubDate: Thu, 12 May 2022 01:16:36 +000
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Authors:
Adolph Reed; Jr. Abstract: I’ll begin by putting all the cards on the table because the political stakes of the moment are too great for coyness or politesse. No matter what those who propound it may believe about themselves or, more meaningfully, want the rest of us to believe about them, contemporary race-reductionist politics—i.e., what is commonly recognized as antiracist politics—is not in any way left, egalitarian, or democratic. It is not linked to any popular, insurgent, or “bottom-up” black or other political expressions. It is not oriented practically toward a vision of broadly egalitarian social transformation, nor is it at all aligned with or congenial to any project of generating a political movement toward such ends. Even when packaged as opposing an abstraction like “racial capitalism” or as advocating “both anti-racism and socialism,” this politics is incapable of adopting the standpoint of building the broad working-class solidarities that are the sine qua non of any project of egalitarian transformation, on whatever scale. In the words of socialist anti-racist Keeanga Yamahtta-Taylor, “we want to win white people to an understanding of how their racism has fundamentally distorted the lives of Black people.” That approach is the opposite of pursuing solidarity. As we have seen… PubDate: Mon, 25 Apr 2022 16:05:49 +000
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Authors:
Daniel Sánchez Bataller
Abstract: Sierra’s tattooed horizontal line conveys the narrative of a modernist outcry that once called for “Workers of the World, Unite!”—or today could call for the people shackled together in debt slavery to unite against neoliberal capitalism. Instead of being ostracized by the burden of carrying a mark for life on their backs, these paid people are united by their tattooed line as much as by their condition as collective subjects of exploitation. PubDate: Mon, 21 Feb 2022 04:30:30 +000
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Authors:
Megan A. Sullivan
Abstract: For Clark, the “moment” is not an outlet to the world that would in principle allow a self-absorbed consciousness to find meaning beyond its own interiority. Nor is it a means by which the subject may reach a higher form of mental life. The “moment” is an end in itself. PubDate: Mon, 21 Feb 2022 04:19:13 +000
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Authors:
Walter Benn Michaels
Abstract: If we take the question about art that is supportive of the PMC as a question about art that is supportive of capitalism, we can see that it’s only incidentally a question about art’s compatibility with the self-understanding of one class rather than another. It’s fundamentally a question about what there can be in art that isn’t reducible to the self-understanding of any class. PubDate: Mon, 21 Feb 2022 03:58:02 +000
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Authors:
AnnMarie Perl
Abstract: At the same moment during the late 1970s that the Ehrenreichs formulated their theory of the PMC, Art & Language and October were likewise problematizing the growing gap between themselves and the working class and rethinking the relations between art, criticism, theory, and politics. This essay examines the emergence and schism of the Art & Language collective followed by the rise of the October group, focusing on the former’s once-famous 1976 critique of the latter, titled “The French Disease.” PubDate: Mon, 21 Feb 2022 03:57:50 +000
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