Реклама. ООО «ЛитРес», ИНН: 7719571260.
Contents
For my father Arthur, my mother Dina, and my sister Lilli
I moved to New York City in 2004, becoming an art critic full time after stints tutoring criminal justice students and writing about flower shows and poetry slams for a community newspaper in Queens. This was during a period of interesting debates in art—about money, the role of the critic, globalization, and more. The original versions of many of the essays here began as polemics, and they bear the stamp of the time and place they were produced, responding to the concerns that have obsessed the New York art scene during this period (which also explains the somewhat New York–centric focus of the examples).
.....
Visual artists have a level of independence that other creative workers don’t. This fact does not mean that they live in some paradise free of exploitation, however. In recent years, the New York group Working Artists in the Greater Economy (W.A.G.E.) has drawn attention to how artists are often expected to create work for free for their own museum exhibitions, thus making professional success a kind of poisoned chalice, entailing escalating expenses without the guarantee of any solid reward.
A 1973 letter from the experimental filmmaker Hollis Frampton to Museum of Modern Art (MoMA) curator Donald Richie has served W.A.G.E. as a kind of manifesto on artists’ historical struggle to be paid for their work. Having been offered a retrospective of his films but told that it would be “all for love and honor” and that “no money is included at all,” Frampton listed the numerous people with whom he had worked or with whom he would work in the process of creating and showing his art—from the film manufacturer and processing lab personnel to projectionists and security guards—and asked why they should be paid for their work while he was not:
.....