Why put artists in a class based on their relations as producers? It is only recently that artists produced work in a field with a robust and open market for it. Artist’s classlessness has its intellectual birth after Modernism. The debate over artists’ class only arises after the appearance of the market for living artists and the concomitant challenges to the academy’s ability to temper taste and production. Unless we unpack this from the start, parts of Davis’ formulations regarding artists’ relations to activist politics are the forced manifesto of a de-historicized worldview dominated by a concern for direct, effective action.

 

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AuthorMike Pepi

Jed Perl searches for a way to preserve the “stability of painting” without defaulting into academicism. This centers on whether we find cohesion or refusal in series like Diebenkorn’s ‘Ocean Park Series’ (1967–88). Perl finds Diebenkorn’s figures a contribution to the symbolist tradition” in which “enigma of human consciousness is revealed indirectly, through a pictorial environment in which naturalistic perceptions” are “transformed by the myriad processes and pressures of the imagination.” Nicolas Linnert insists Diebenkorn “was never fixed in his focus or aesthetic position on painting… his vacillation between abstraction and representation developed its own sense of cohesion.”

 

 

Posted
AuthorMike Pepi
Categories100 words