By Jaimey Hamilton Faris
Since Marcel Duchamp created his “readymades” a century ago—most famously christening a urinal as a fountain— the perform of incorporating commodity gadgets into paintings has develop into ever extra pervasive. Uncommon Goods lines one relatively vital point of that development: the shift in creative quandary towards the hidden moral dimensions of worldwide trade. Jaimey Hamilton Faris discusses the paintings of, between many others, Ai Weiwei, Cory Arcangel, Thomas Hirschhorn, and Santiago Sierra, interpreting their inventive explorations as overlapping with debates approximately how universal items carry us and our global in universal. using readymade now registers matters approximately foreign migrant exertions, outsourced production, entry to common assets, highbrow copyright, and the commoditization of digital space.
In every one bankruptcy, Hamilton Faris introduces artists who exemplify the point of interest of readymade aesthetics on features of world commodity tradition, together with intake, advertising, forms, exertions, and neighborhood. She explores how materially in depth, “uncommon” aesthetic events can provide moments to meditate at the types of items, stories, and values we ostensibly proportion within the age of globalization. The ensuing quantity might be a big contribution to scholarship on readymade artwork in addition to to the research of materiality, embodiment, and globalization.
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Additional resources for Uncommon goods : global dimensions of the readymade
Example text
The historic two-story building was erected as May’s department store in the nineteenth century, when floor-toceiling windows were first used self-consciously to showcase goods. Looking at Koon’s “new” sculpture then, enframed by Beaux Arts stone molding, but situated in the context of progressive intellectualism and art culture, which in turn sponsored radical avant-garde art as commodity, sparks a bit of reflection about the newly overt commodity situation of art. Koons was not the only artist to emphasize display in this context.
As the structures of making and trading commodities have shifted, they have been challenged by its subjects on cultural and ethical grounds, not least by artists who have Uncommon Goods sought to shift, in even the smallest way, our perceptions toward the invisible forces of globalization. The development of affectual readymades, as art practices embedded in the expansion of commodity diversity and availability since the mid-twentieth century, can be seen as variable efforts to call attention to the emerging ethical and political dilemmas of the global capitalist imaginary.
In fact, the strategic placement and titling of the work referenced new vacuum cleaners and consumer society, but also “new” art and artists as part of the phenomenon. The signage brashly insinuated that the New Museum was as much a part of consumer society as Sears in its cultivation of new consumers that would buy “new,” not Old Master, art. Marcia Tucker, who had been chief curator at the Whitney Museum, founded the New Museum in response, on the one hand, to the “corporatization” of the major New York museums who were increasingly focusing on established artists with already-proven historical value, and on the other, the free-wheeling nature of the seventies cooperative avant-garde galleries (Tucker and Lou 2008).