R E V I E W : : C O N S O R T I U M: Art and Capitalism

Introduction

Discusses the disconnection between revolutionary art and capitalism today, highlighting how contemporary art practices often prioritize commercial success over political messages.
Art has increasingly become an industry dominated by celebrity culture and financial gains, leading to a commodified view of creative expression.
Raises important questions about the directions in which creative energies can be redirected to foster genuine artistic revolutions.

Art today primarily serves as a commodity, significantly influenced by market demand rather than as a vehicle for revolutionary ideas or social change.
Notably, economic downturns do not significantly affect the intrinsic value of art as a commodity, indicating its solidification as a luxury item.
Historically, avant-garde art emerged as a crucial tool for social disruption, challenging societal norms and inspiring change.
This leads to the reflection on the effectiveness of art in enacting change, questioning if creative energies should be redirected towards more impactful endeavors.

Introduction to "Plastic Pills" project with Mike Watson, an Adorno scholar, reflecting on how art intersects with contemporary politics.
Focus on revolutionary art and the emergence of online political movements, emphasizing strategies such as the use of memes and digital content to provoke thought and inspire action.
Urges viewers to embrace the unpredictable and chaotic aspects of the Internet, which has become a platform for grassroots movements.

Reference to Pablo Picasso and his vital connection to the Communist Party, which exemplifies the entwining of art and political ideology.
Discusses how art and politics have merged during critical periods of social upheaval, such as Dadaists’ contributions during the Russian Revolution, which expressed dissent against war and oppression.
Highlights ongoing tensions between avant-garde art and revolutionary politics, showcasing how these movements influence and sometimes contradict one another.

Explores the connection and friction between experimental art movements, such as Dadaism, and revolutionary political movements throughout the 20th century.
Reflects on the similar goals of art and political activism, both aiming to disrupt the status quo, yet frequently encountering failures in their respective pursuits.
Analyzes the evolution of both fields in response to societal changes and pressures.

Today's digital memes and online content are proposed to reflect and impact society similarly to past avant-garde efforts, offering a new avenue for self-expression and cultural commentary.
Suggests the creation of a 'minor literature' that fosters new, subversive vocabularies within major language communities, transcending traditional forms of expression.
Notes that class consciousness remains underrepresented in mainstream narratives, highlighting the need for diverse voices in artistic expressions.

Diego Rivera: Known for politically charged muralism, focusing on anti-imperialism and the rights of labor, aiming to uplift the working class through visual storytelling.
Despite these revolutionary intentions, Rivera’s art has been commoditized and often sought after by wealthy patrons, showcasing the irony of revolutionary art becoming a luxury.
Banksy: Celebrated as a street artist, his works critique capitalist culture, yet his commercial success at high auction prices illustrates the co-option of his anti-capitalist messaging.

Discusses how the phenomenon of art co-opting political values results in a commodification of resistance, diluting the original intended messages of artworks.
Artists like Jean-Michel Basquiat and Mario are highlighted as exemplars of the struggles between maintaining political intent and achieving commercial success.
Both artists experienced the overwhelming pressures of the art market, which often detracts from their revolutionary aspirations.
Examines the complex relationships between innovative art practices and capitalist structures, emphasizing the challenges artists face today.

Analyses the role of the Internet as a powerful new platform for democratic content creation and self-expression, shifting from traditional media's constraints.
Discusses differences between traditional media and decentralized digital platforms, which allow for more diverse voices and narratives.
Emphasizes the potential for grassroots movements to emerge, counteracting mainstream media narratives and fostering alternative discourses.

Explores the concept of mimesis: art’s duty to reflect the complexities and absurdities of life in contemporary society.
As society becomes increasingly surreal, art must adapt correspondingly, with memes and digital content exemplifying contemporary absurdism and social commentary.
Frederick Jameson’s predictions highlight the possibilities of a new left art form that aligns with post-modernism and critiques global capitalism.

Proposes that memes and other forms of digital content can serve as modern artistic expressions and cultural acts of defiance against prevailing systems.
Underlines the importance of building a lexicon of symbols and expressions that resist easy co-option for commercial gain, preserving their original meaning and impact.
Acknowledges that while traditional forms of art lose resonance with non-elite audiences, online content has the potential to maintain its relevance and impact through accessibility.

Despite ongoing challenges from the capitalist system, there remains a wealth of potential for creativity and innovation online.
Struggles against media monopolies that prioritize profit over genuine communication and expression continue to spur experimentation and subversion in artistic practices.
The evolution of art forms reflects the complexities of modern existence, offering a dynamic platform for ongoing conversation, critique, and revolutionary action.