Marcus Coates (2007)
Cattle-pieces and sea-pieces and fruit-pieces and family-pieces, the eternal brown cows in ditches, and white sails in squalls, and sliced lemons in saucers, and foolish faces in simpers.
—John Ruskin on English art of his day
In art, one does not aim for simplicity. One achieves it unintentionally as one gets closer to the real meaning of things.
During the Medieval period, literacy levels were low and images became important. Symbolism and iconography added meaning to images which took the place of text. There was no need to write about art to explain it; it was the other way around: art itself was used to teach and explain Christian texts.
—Kate Nicholson, Art Radar Asia
Blake Fall-Conroy (2008-2010) Minimum Wage Machine
Here is an artist who is “more interested in communicating ideas and less interested in making art.”
The machine allows anyone to work for minimum wage for as long as they like. Turning the crank on the side releases one penny every 4.97 seconds, for a total of $7.25 per hour. This corresponds to minimum wage for a person in New York where average worker earning minimum wage must work 130+ hours to be able to afford rent.
In this abysmal debate about whether or not Art can exist beyond Market and State interference, most panelists used non-existent questions to promote irrelevant personal anecdotes. The silver lining is that I have discovered one salient voice, that of Gregory Sholette.
"The people who fail are not failing outside of the system. They are failing because they have to fail within the system. They’re made to fail within the system. The system always overproduces and failure is inscribed within its architecture."
The creative economy normalises and justifies prominent features of labour markets and employment relations based on non-standard employment relationship; one that in its core characteristics is absed on employment and income insecurity, excessive overtime, contract, freelance or self-employment, and where risk is both individualised and devolved from the employer to the worker. It is also a landscape that is largely devoid of unions and collective bargaining.
—Coles, Amanda L. PhD, (2012) “Counting Canucks: cultural labour and Canadian cultural policy”. Open Access Dissertations and Theses. Paper 7453. p. 14
The ways in which some writers try to justify the value of contemporary artworks speaks volumes about their inherent lack of integrity and content.
Self-actualization is not a top priority for everyone. However, UBS’s clientele is uniquely positioned to ensure that they have their self-actualization needs met. Absent any other differentiating factors, an audience that is relatively free from the constraints of material wants will choose the wealth management service that provides the extra value of meeting these higher-order self-actualization needs. That’s why the UBS-Guggenheim collaboration makes good sense.
—BJ Bueno (2012) Leveling Up: Why The UBS/Guggenheim Collaboration Makes Good Sense