Paul Mattick

The many deaths of art

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Anton Vidokle, Gregg Horowitz,
Paul Mattick, and Yates McKee

Untitled.
Image: The “tombstone” of Kazimir Malevich,
buried beneath The Black Square (1935)
untitled2

Originally posted over at the Platypus Review. Last spring, in response to Paul Mason’s article “Does Occupy Signal the Death of Contemporary Art?,” the Platypus Affiliated Society hosted an event on the “death of art.”[1] Speakers included Julieta Aranda who was represented by Anton Vidokle, Gregg Horowitz, Paul Mattick, and Yates McKee. The discussion was moderated by Chris Mansour and was held at the New School in New York on February 23, 2013. Complete video of the event can be found online by clicking here. What follows is an edited transcript of the conversation.

Opening remarks

Anton Vidokle: These are Julieta Aranda’s opening remarks: It was with a strange sense of déjà vu that I accepted the invitation to attend yet another funeral for art. Of course I have heard about all the previous ones, but this is the first time I have been invited to attend one. As an artist it is hard to understand the compulsion to establish our sense of art history through the recurrent announcements of “the death or art.” Art seems to be constantly dying, but we never talk much about its birth. It must have been stubbornly reborn on countless occasions, since we are here again, trying to measure its vital signs. I tried to do a bit of a research into the many deaths of art — but I was quickly overwhelmed: In one way or another, we have been trying to put art in a coffin and nail it shut for the past 2,000 years.

In the 1980s — during the art market boom — there were plenty of death calls: the death of painting, the death of modernism, and also the death of postmodernism. Meanwhile, the New York art market was very much alive, fueled by the usual suspects: speculators, investors, real estate developers, social climbers, and so forth. Of course as with everything that is artificially inflated, there was an eventual market crash, and this crash had many casualties. Many galleries disappeared, and many artists’ careers dried out. But this wasn’t understood to be the death of art as it had been previously announced.

I am skeptical about the Peter and the Wolf announcements of an imminent death of art — this time in its “contemporary” incarnation. For me, it is more interesting to question the favorable disposition — almost a wish — that we have towards the demise of art. The death sentence on contemporary art comes not only because the current operative model for contemporary art is deficient. (Under the current model, meaning is often quickly emptied out from objects and images, and market artists are a renewable resource.) But this wish also comes partly because we want a new big thing, we want the new thing to come now, and we want to be the new thing while the market is booming. As Hito Steyerl, a German video artist and writer, points out in her Kracauer Lecture, “The New Flesh: Material Afterlives of Images,” “To declare something over or dead is a form of production, that purposefully kills off something in order to launch new commodities or attract attention.”[2] Continue reading →

Radical interpretations of the present crisis

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New York University
November 26, 2012
Platypus Review 56
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..Loren Goldner | David Harvey
Andrew Kliman | Paul Mattick

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Last au­tumn, chapters of the Platy­pus Af­fil­i­ated So­ci­ety in New York, Lon­don, and Chica­go hos­ted sim­il­ar events on the theme of “Rad­ic­al In­ter­pret­a­tions of the Present Crisis.” The speak­ers par­ti­cip­at­ing in New York in­cluded Loren Gold­ner, Dav­id Har­vey, An­drew Kli­man, and Paul Mat­tick. The tran­script of the event in Lon­don ap­peared in Platy­pus Re­view 55 (April 2013). What fol­lows is an ed­ited tran­script of the con­ver­sa­tion that PAS-NYC hos­ted on Novem­ber 14, 2012 at the New School.

Pre­lim­in­ary re­marks

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Loren Gold­ner: The title of my talk to­night is “Fic­ti­tious Cap­it­al and Con­trac­ted So­cial Re­pro­duc­tion.” It is im­port­ant to note that as we con­vene to­night, there are gen­er­al strikes across the south­ern flank of Europe, the miners’ strikes in South Africa, and at least 50 strikes a day in China. While we con­vene to talk about the crisis, there are people in mo­tion try­ing to do something about it.

Marx writes in his Grundrisse, “Cap­it­al it­self is the mov­ing con­tra­dic­tion, [in] that it presses to re­duce labor time to a min­im­um, while it pos­its labor time, on the oth­er side, as sole meas­ure and source of wealth.”[1] Un­pack­ing that one sen­tence can get us very far in un­der­stand­ing the crisis and the his­tory of at least the last hun­dred years.

Cap­it­al can be broken down in­to Marx’s cat­egor­ies: sur­plus value (s), vari­able cap­it­al (v), and con­stant cap­it­al (c). With­in con­stant cap­it­al there is a break­down in­to (i) fixed cap­it­al, which refers gen­er­ally to ma­chinery and tools, and (ii) cir­cu­lat­ing cap­it­al, which refers to things such as raw ma­ter­i­als.

With these cat­egor­ies I would like to ad­dress the ques­tion of fic­ti­tious cap­it­al, which I define as claims on the so­cial wealth and so­cial sur­plus that cor­res­pond to no ex­ist­ing so­cial sur­plus. The ori­gins of fic­ti­tious cap­it­al are the ad­van­cing pro­ductiv­ity of labor in cap­it­al­ism, which is an an­arch­ic sys­tem, one that is con­stantly de­valu­ing the con­stant cap­it­al in­ves­ted by the cap­it­al­ist class. Cap­it­al volumes 1 and 2 de­scribe a pure cap­it­al­ist sys­tem, in which there are only two so­cial classes: the wage-labor pro­let­ari­at and the cap­it­al­ist class or the bour­geois­ie. Oth­er classes enter the pic­ture, for in­stance peas­ants, in the long his­tor­ic­al chapter on ac­cu­mu­la­tion. But Marx is try­ing to set up a pure mod­el and then move on to the more every­day ap­pear­ances of the sys­tem. Continue reading →

Kazimir Malevich, Black Square (1915)

The many deaths of art

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IMAGE: Kazimir Malevich, The Black Square (1915)

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A moderated panel discussion held by the Platypus Affiliated Society on Sat, 2.23.13 at the New School.

Video from the event

The “death of art” has been a recurring theme within aesthetic and philosophical discourse for over two centuries. At times, this “death” has been proclaimed as an accomplished fact; at others, artists themselves have taken the “death of art” as a goal to be accomplished. So while this widely perceived “death” is lamented by many as a loss, it is celebrated by others as a moment of life renewed. For them, art is all the better for having disburdened itself of the baggage of outmoded modernist ideologies. Insofar as the “death” of longstanding cultural traditions has in the past typically been understood to signal a deeper crisis in society at large, however, the meaning of death necessarily takes on a different aspect today — especially when the tradition in question is modernism, the so-called the “tradition of the new” (Harold Rosenberg). Because the notions of “death” and “crisis” appear to belong to the very edifice of modernity that has just been rejected, these too are are to be jettisoned as part of its conventional yoke. Modernity itself having become passé, even the notion of art’s “death” would seem to have died along with modernism.

We thus ask our panelists not merely whether art is at present “dead,” but also if traditions are even permitted the right to perish in conservative times. If some once held that the persistence of philosophy indicated the persistence of obsolete social conditions, does the persistence of art signal ongoing social conditions that ought to have long ago withered away? If so, what forms of political and artistic practice would be sufficient to realize art, and in what ways would realizing art signal something beyond art? Marx felt that the increasing worldliness of philosophy in his time — heralded by the culmination of philosophy in Hegel — demanded not only the end of philosophy, but also that the world itself become philosophical. If avant-garde movements once declared uncompromising war on art (Aleksei Gan) in order to tear down the barrier between art and life, would the end or overcoming of art not similarly require that the world itself become artistic? Continue reading →

NYC panel event: THE MANY DEATHS OF ART

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   Julieta Aranda | Gregg Horowitz
Paul Mattick | Yates Mckee

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65 W 11th St.
Wollman Hall (5th fl)
New School

February 23, 2013
6-9pm

Please register on our official event page
Join the event on Facebook

The “death of art” has been a recurring theme within aesthetic and philosophical discourse for over two centuries. At times, this “death” has been proclaimed as an accomplished fact; at others, artists themselves have taken the “death of art” as a goal to be accomplished. So while this widely perceived “death” is lamented by many as a loss, it is celebrated by others as a moment of life renewed. For them, art is all the better for having disburdened itself of the baggage of outmoded modernist ideologies. Insofar as the “death” of longstanding cultural traditions has in the past typically been understood to signal a deeper crisis in society at large, however, the meaning of death necessarily takes on a different aspect today — especially when the tradition in question is modernism, the so-called the “tradition of the new” (Rosenberg). Because the very ideas of “death” and “crisis” appear to belong to the edifice of modernity that has been rejected, these too are are to be jettisoned as part of its conventional yoke. Modernity itself having become passé, even the notion of art’s “death” seems to have died along with modernism.

We thus ask our panelists not merely whether art is at present “dead,” but also if traditions are even permitted the right to perish in conservative times. If some once held that the persistence of philosophy indicated the persistence of obsolete social conditions, does the persistence of art signal ongoing social conditions that ought to have long ago withered away? If so, what forms of political and artistic practice would be sufficient to realize art, and in what ways would realizing art signal something beyond art? Marx felt that the increasing worldliness of philosophy in his time (heralded by the culmination of philosophy in Hegel) demanded not only the end of philosophy, but also that the world itself become philosophical. If avant-garde movements once declared uncompromising war on art in order to tear down the barrier between art and life, would the end or overcoming of art not similarly require that the world itself become artistic?

The Many Deaths of Art event poster

Continue reading →

Video from Radical Interpretations of the Present Crisis [11.14.2012]

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A panel event held at the New School in New York City on November 14th, 2012.

Loren Goldner ┇ David Harvey ┇ Andrew Kliman ┇ Paul Mattick

What does it meant to interpret the world without being able to change it?

Featuring:

• LOREN GOLDNER

// Chief Editor of Insurgent Notes; ┇ Author: — Ubu Saved From Drowning: Class Struggle and Statist Containment in Portugal and Spain, 1974-1977 (2000), — “The Sky Is Always Darkest Just Before the Dawn: Class Struggle in the U.S. From the 2008 Crash to the Eve of Occupy” (2011)

• DAVID HARVEY

// Distinguished Professor of Anthropology and Geography at the CUNY Grad Center; ┇ Author: — The Condition of Postmodernity (1989), — A Brief History of Neoliberalism (2005), — “Why the US Stimulus Package is Bound to Fail” (2008) — The Enigma of Capitalism (2010)

• ANDREW KLIMAN

// Professor of Economics at Pace University; ┇ Contributing author to the Marxist-Humanist Initiative’s (MHI’s) With Sober Senses since 2009; ┇ Author: — Reclaiming Marx’s “Capital”: A Refutation of the Myth of Inconsistency (2007), — The Failure of Capitalist Production: Underlying Causes of the “Great Recession” (2012)

• PAUL MATTICK

// Chair of the Department of Philosophy at Adelphi University; ┇ Contributor to The Brooklyn Rail ┇ Author: — Social Knowledge: An Essay on the Nature and Limits of Social Science (1986), — Business as Usual: The Economic Crisis and the Failure of Capitalism (2011)

“Radical Interpretations of the Present Crisis”: A panel discussion with Loren Goldner, David Harvey, Andrew Kliman, and Paul Mattick

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Radical Interpretations of the Present Crisis

LOREN GOLDNER ┇ DAVID HARVEY ┇ ANDREW KLIMAN ┇ PAUL MATTICK

// November 14th, 2012
7-10PM

// Wollman Hall
Eugene Lang building, 6th floor
65 W 11th St
New York, NY 10011

Join the Facebook event page.
Download an image file of the event flier.
Download the PDF version of the event flier.

The present moment is arguably one of unprecedented confusion on the Left.  The emergence of many new theoretical perspectives on Marxism, anarchism, and the left generally seem rather than signs of a newfound vitality, the intellectual reflux of its final disintegration in history.  As for the politics that still bothers to describe itself as leftist today, it seems no great merit that it is largely disconnected from the academic left’s disputations over everything from imperialism to ecology.  Perhaps nowhere are these symptoms more pronounced than around the subject of the economy.  As Marxist economics has witnessed of late a flurry of recent works, many quite involved in their depth and complexity, recent activism around austerity, joblessness, and non-transparency while quite creative in some respects seems hesitant to oppose with anything but nostalgia for the past the status quo mantra, “There is no Alternative.”  At a time when the United States has entered the most prolonged slump since the Great Depression, the European project founders on the shoals of debt and nationalism.  If the once triumphant neoliberal project of free markets for free people seems utterly exhausted, the “strange non-death of neo-liberalism,” as a recent book title has it, seems poised to carry on indefinitely.  The need for a Marxist politics adequate to the crisis is as great as such a politics is lacking.

And 2011 now seems to be fading into the past.  In Greece today as elsewhere in Europe existing Left parties remain largely passive in the face of the crisis, eschewing radical solutions (if they even imagine such solutions to exist).  In the United States, #Occupy has vanished from the parks and streets, leaving only bitter grumbling where there once seemed to be creativity and open-ended potential.  In Britain, the 2011 London Riots, rather than political protest, was trumpeted as the shafted generation’s response to the crisis, overshadowing the police brutality that actually occasioned it.  Finally, in the Arab world where, we are told the 2011 revolution is still afoot, it seems inconceivable that the revolution, even as it bears within it the hopes of millions, could alter the economic fate of any but a handful.  While joblessness haunts billions worldwide, politicization of the issue seems chiefly the prerogative of the right.  Meanwhile, the poor worldwide face relentless price rises in fuel and essential foodstuffs.  The prospects for world revolution seem remote at best, even as bankers and fund managers seem to lament democracy’s failure in confronting the crisis. In this sense, it seems plausible to argue that there is no crisis at all, but simply the latest stage in an ongoing social regression. What does it mean to say that we face a crisis, after all, when there is no real prospect that anything particularly is likely to change, at least not for the better?

In this opaque historical moment, Platypus wants to raise some basic questions: Do we live in a crisis of capitalism today and, if so, of what sort — political? economic? social? Why do seemingly sophisticated leftist understandings of the world appear unable to assist in the task of changing it? Conversely, can the world be thought intelligible without our capacity to self-consciously transform it through practice? Can Marxism survive as an economics or social theory without politics? Is there capitalism after socialism?

Featuring:

• LOREN GOLDNER

// Chief Editor of Insurgent Notes; ┇ Author: — Ubu Saved From Drowning: Class Struggle and Statist Containment in Portugal and Spain, 1974-1977 (2000), — “The Sky Is Always Darkest Just Before the Dawn: Class Struggle in the U.S. From the 2008 Crash to the Eve of Occupy” (2011)

• DAVID HARVEY

// Distinguished Professor of Anthropology and Geography at the CUNY Grad Center; ┇ Author: — The Limits to Capital (1982), — The Condition of Postmodernity (1989), — A Brief History of Neoliberalism (2005), — “Why the US Stimulus Package is Bound to Fail” (2008)

• ANDREW KLIMAN

// Professor of Economics at Pace University; ┇ Founding member of the Marxist-Humanist Initiative (MHI) in 2009; ┇ Author: — Reclaiming Marx’s Capital: A Refutation of the Myth of Inconsistency (2006), — The Failure of Capitalist Production: Underlying Causes of the “Great Recession” (2011)

• PAUL MATTICK

// Professor of Economics, Chair of the Department of Philosophy at Adelphi University; ┇ Editor of The Brooklyn Rail ┇ Author: — Social Knowledge: An Essay on the Nature and Limits of Social Science (1986), — Business as Usual: The Economic Crisis and the Failure of Capitalism (2011)

Event space: