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The Color of Money:
A Conference on Visuality and Economics University of
California, Irvine, 2002 CONTENTS: ¨
Conference
Schedule ¨
Abstracts ¨
Select
Bibliography ¨
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Schedule Friday,April 26 3:00 Coffee 3:45 Introductory Remarks 4:00 Panel:
Bourdieu/Practice "Critical Design: Recent
Strategies for Blurring the Markets forArt and Design" Ross K. Elfline, School of
the Art Institute of Chicago "The Domestic Interior as
Conceptual Portrait" Brian Goeltzenleuchter,
University of California, San Diego "No Free Lunch: Rirkrit
Tiravanija's Meals" Benjamin Lima,
University of California, Irvine 5:00 Discussion Moderator: Analisa
Leppanen-Guerra, UC Irvine 5:30 Keynote : Lynn Spigel,
Professor, School of
Cinema-Television, University of Southern California "Inside the Smart
Home: From TV to Telerobotics" 6:45 Discussion 7:30 Closing Remarks |
Saturday,April 27 10:00 Coffee 10:45 Opening Remarks 11:00 Panel:
Carnival/Spectacle "When
the Anti-Capitalism Movement Takes To the Streets:Public Protest As Public
Ethnography" Greg
Tanaka, University of California, Los Angeles
"The Spectacle and 'the becoming consciousness of man':
GuyDebord's Society of the Spectacle"
Shelleen Greene, University of California, Irvine Noon
Discussion
Moderator: James D. Herbert, UC Irvine 12:30 Lunch 2:00 Panel: Cinema/Industry "The Buying Game:
Miramax's Transformation from Independentto Studio Subsidiary" Alisa Perren, University of
Texas at Austin "The Beauty of
Global Capitalism: On Keanu Reeves" Gerald Sim, University
of Iowa 3:00 Discussion Moderator: Akira
Mizuta Lippit, UC Irvine 3:30 Keynote : Allan Sekula,
Professor, California Instituteof the Arts "Between the Net
and the Deep Blue Sea" 4:45 Discussion 5:30
Closing Remarks |
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Paper Abstracts Critical Design: Recent Strategies
for Blurring the Markets for Art andDesign, Ross K. Elfline, School
of the Art Institute ofChicago While the mid- and late-1990s saw a trend
toward "design art,"the vast majority of these works remained non-functional.
Two artists inparticular, Andrea Zittel and Joep van Lieshout, have been
noteworthy in theirdesire to buck this trend by creating fully functional
works, which thusapproach the design object. More importantly, they have
establishedorganizations, based on a corporate model, for marketing their
works. AndreaZittel exhibits her designs under the guise of A-Z
Administrative Services. Thoughthis serves primarily as a performative space
for the artist, it alludes to aninnovative strategy for distributing art.
Joep van Lieshout created Atelier vanLieshout in 1995, complete with
marketing and public relations departments inplace to seek large scale design
commissions, while still exhibiting workthrough the established institution
of the art gallery. Atthe same time, designer Constantin Boym has
taken issue with the role of thedesigner by creating non-functional works for
mass-production. His souvenirs of"Buildings of Disaster" question
both the purpose of the designobject and our relationship to it. Together,these three artists and designers
have created and marketed objects that arecritical of the discipline of
design itself. Existing in the liminal spacebetween art and design, they
question whether this distinction is evennecessary. RossElfline is completing his master's degree
in Modern Art History, Theory andCriticism at The School of the Art Institute
of Chicago, where his research hasfocused on topics ranging from the
commodification of the art object tonarrative theory and Minimalist music. Previous
to his work at SAIC, Rossattended Grinnell College where he earned a degree
in economics, concentratingon issues of wealth and income distribution. For
this conference, Ross ispresenting a paper that comes out of his master's
thesis. The Domestic Interior as Conceptual
Portrait, Brian
Goeltzenleuchter, University ofCalifornia, San Diego Optingfor a skeptical view of Pierre Bourdieu 's theories regarding
thesociology of art and taste, this paper begins by acknowledging the poor
dualitythat exists when considering the consumption of art (or visual
culture) withinthe context of image construction--at one end the social
marker, and at theother end the aesthetically pleasing object. Instead, my
work argues for hybridsocio-aesthetic configurations that attempt to explain
representations of selfthrough visual artifacts in a
"passion-oriented" way. By this I referto French sociologist
Antoine Hennion 's work with musicamateurs. Hennion 's use of the termamateur
evokes both its English usage as one who follows a pursuit withoutattaining
professional status, and its French usage as a lover or admirer. Withthe
latter usage in mind, I begin a critique of conceptual class
portraiture,suggesting that passion is both conditioned and generative. I use
as a point ofdeparture my series of paintings entitled, Collaborations .The paintings 'subject is
the domesticinterior as conceptual portrait--a metaphoric representation of a
person bymeans of a literal representation of that person 'sliving space. I argue
these portraits derive their meaning both from thepredetermined symbolic
status of the objects displayed, and from the
passion-generated manner in which each object isacquired and presented. BrianGoeltzenleuchter is an interdisciplinary
artist who uses hybrid forms toinitiate playful and unexpected dialogs
regarding western traditions relativeto the construction of the home. He
recently received an MFA in the Visual Artsfrom University of California, San
Diego. Goeltzenleuchter 's work has appeared at
various venues in the United Statesand Europe. He recently finished two
projects in Holland--an exhibition atPhoebus Gallery, Rotterdam and a
temporary public artwork for the city ofUtrecht. Currently,he is a candidate
for interdisciplinary studio positions at institutions inWashington,
Missouri, and Maine. No Free Lunch: Rirkrit Tiravanija's
Meals, Benjamin
Lima, University of California, Irvine In Untitled (Free), at the 303 Gallery in
New York in 1992, the artistRirkrit Tiravanija arranged for two spaces in the
gallery to be put to unusualuse. In the front room, normally used for
displaying art, Tiravanija placedobjects that were normally stored in the
back room -- including paintings,supplies such as light bulbs, appliances
such as a microwave oven and aminifridge, along with the gallery owner, Lisa
Spellman, at her desk. In theback room, normally used for storage, Tiravanija
installed a refrigerator withsupplies such as eggplant, broccoli, and beans,
along with portable cookers,tables and chairs. Here the artist, with his
associates assisting and sometimesstanding in for him, prepared and served
curry for the duration of the exhibit. This work, and other occasions where
Tiravanija has played out domestic rituals ingallery spaces, provokes at
least two kinds of responses. For those insiderswho are personally acquainted
with the artist, the dealer and the other guests,the dining ritual functions
as a kind of gift exchange, as described by MarcelMauss. For those outsiders
who arrive anonymously and are not known to thatsocial network, however,
multiple options are available, including: a fullparticipation and induction
into the network; an observation while feeling excluded; or an indifferent
observation. This paper considers Tiravanija 's work in terms of theideas
of Mauss, as well as those of Pierre Bourdieu in The Logic ofPractice, and of John Cage in Silence, arguing for the necessity
ofmatching Tiravanija 's "socialphenomenology" to a "social
physics," and suggesting that thework be viewed in terms of an
unobstructed interpenetration between art andlife. BenjaminLima is a graduate student in the PhD
Program in Visual Studies at theUniversity of California, Irvine. |
When the Anti-Capitalism Movement Takes
To the Streets:Public Protest As Public Ethnography, Greg Tanaka, University
of California, LosAngeles As Americans come to understand the
limitations of representative democracy andglobal capitalism, new
alternatives are needed that make public spaces morefriendly to individual
identity development and agency. One such alternative is"participatory
democracy" in which each member of a society is givenboth voice and a
duty to participate directly in civic governance. Accompaniedby slides and a brief video, this
paper examines the violence of police at theDemocratic National Convention
outside the Staples Center in Los Angeles onAugust 14, 2000. While 12,000
protestors railed against the WTO, the Democraticparty, and what many
perceived to be a selling out of the democracy to bigbusiness, police
advanced on the crowd in full riot gear. As the police firedpepper spray and
hard rubber bullets the size of golf balls on a peaceablydispersing crowd,
the local media arguably under-reported the severity of thesepolice actions. What Iwill argue is that these events were
nonetheless recorded by members of theindependent media (e.g. Parachini,
2000) and by 200 "legal observers"placed in the field by the
National Lawyers Guild (e.g. Cruz, 2000). Some ofthese frames are presented
here. In recording this police violence, thesepractitioners filled a vacuum
created by the official media's abdication of itsduty to inform a democratic
public and, I will further argue, changed thenature of ethnography. Through
continuing efforts of "publicethnography," an evidentiary
foundation is being established by which torationalize and assess the
efficacy of a global social movement toward direct,participatory democracy. GregTanaka (BA Williams College; MBA Harvard;
JD Georgetown; ABD in Anthropology,UCLA) teaches human development and social
change, ethnographic methods, andsocial and political contexts of human
development at Pacific Oaks College. Hehas published articles on autonomous
community building as an alternative toglobal capitalism, critical race
theory, gender and sexual orientation,intersubjective storytelling, and
intercultural education. He has a book inpress on interculturalism in higher
education and is completing a second bookon race, capital and participatory democracy.
Editor of Unity
&Difference journal,
he is a 1996 recipient of the James Clavell LiteraryAward. The Spectacle and 'the becoming
consciousness of man':Guy Debord's Society of the Spectacle, Shelleen Greene, University of
California,Irvine GuyDebord's Society of the Spectacle is an
astute, albeit pessimistic examinationof modern capitalist society. The
prevalent interest in the effect of new modesof industrial production on
human relations stems from Debord's involvementwith The Situationist
International, the leftist student movement of the late1960s. Particular to
the Situationist critique of modern capitalism is anincorporation of the
effects of visual media on contemporary consumer society.Central to our
discussion is the place and significance of the"spectacle" in
modern society. Why has our culture incorporated thevisual to such an extent
that Debord is compelled to state that the spectacleis a "social
relationship between people that is mediated by images".By claiming the
spectacle to be a social relation, we understand Debord'sconcern does not
center on the image as such, but rather, the implications ofimage-excess and
mass culture. Essentially, Debord's text on visual culture canbe read as a
profoundly ethical examination of human society. Tofurther our discussion of the spectacle, it
is necessary to examine the work ofGeorge Bataille. We may illuminate several
aspects of Society of the Spectacleby drawing on Bataille's re-reading of
Hegel via Karl Marx and AlexanderKojeve. From an examination of two of
Bataille's essays, "Hegel, Death andSacrifice" and "Sacrifice,
the Festival and the Principles of theSacred World," we suggest that
Debord's pessimism with mass culture stemsfrom the belief that modern society
has no "real" spectacle, orrather, a spectacle that brings about as
Bataille states, an "intimatelife" that allows for the development
of human self-consciousness. ShelleenGreene is a graduate student in the
PhD Program in Visual Studies at theUniversity of California, Irvine. The Buying Game: Miramax's
Transformation fromIndependent to Studio Subsidiary, Alisa Perren, University of Texas at
Austin "The Buying Game" provides a case
study of thesale of Miramax to Disney in April 1993. Miramax was among the
first of theindependent distributors to become studio subsidiaries in the
1990s. Inaddition, this company played a crucial role in framing the
discourse ofindependence both before and after it became a part of the Magic
Kingdom. Thispaper examines the ways that both the company and its films
changed over thedecade. Further, I explore the relationship of Miramax's
changes to largershifts in the structure, conduct and films of New Hollywood.
This paper has three parts: The first section
examinesMiramax's status within the industry prior to April 1993. This
section focuseson the controversial marketing of The Crying
Game and
the importance ofthis film's financial and critical success to Miramax's
future fortunes. Thesecond section looks at the industry and press discourse
surrounding the saleof Miramax to Disney, and the ways that this sale
stimulated many people toevaluate the nature and meaning of independence in
Hollywood. The third sectionsurveys Miramax's film slate over the rest of the
'90s, assessing how thecompany altered its production, acquisitions, and
distribution strategies withthe infusion of Disney money. Miramax's responses
to the controversiessurrounding Kids ,Dogma and Oare discussed, along
withthe company's increasing emphasis on genre films such as Scream ,TheFaculty and Scary Movie . The presentation
concludes with aconsideration of the implications for independent film in
light of the"mainstreaming" of Miramax and the emergence of other
studio-basedspecialty divisions. Alisa Perren is a doctoral candidate in the
Radio-TV-Filmdepartment at the University of Texas at Austin. She is
currently working on amanuscript tracing the development of Miramax in the
1990s. The Beauty of Global Capitalism: On
Keanu Reeves, Gerald Sim, University
of Iowa "The Beauty of Global Capitalism"
argues thatthe films and star discourse of Keanu Reeves are inflected by
specific visualconstructions of his persona and identity that are in turn
heavily implicatedin Neo-Marxist theories of postmodern culture and spectacle:
His aestheticbeauty is a reification of the economic substructure. Reeves'
star text revealsthat he is inexorably associated with racial ambiguity;
patterns andobservations that recall Miriam Hansen's work on Rudolph
Valentino. wheremultiple planes of identification resulted in a discursive
formation within hisstardom that Hansen argues enabled female consumers to
experience a level ofparticipation in the public sphere. For Reeves' fans,
however, the publicsphere is one that has been increasingly if not completely
dominated by globaleconomic capital, where he carries a distanced,
"Generation X"persona. Reeves' raciality differs from Valentino's
in that postmodern racialformations render it politically impotent. The 1967
Supreme Court rulingstriking down anti-miscegenation shortly preceded the
complete breakdown ofMarxist idealism in 1968. Multiracial bodies that
proliferated since then arethus governed by the ideology of Late Capitalism.
Therefore, the two mostprominent characteristics of Reeves' star discourse --
his ambiguous exoticismand "lost boy" persona -- are girded by the
cultural logic andunderpinned by the capital flow which combine to make him a
postmodern icon,that elide more progressive interpretations of his
subjectivity, and thatefface the subject itself. GeraldSim is a PhD candidate in Cinema and
Comparative Literature at the Universityof Iowa, with interests in American
cinema, National cinema, political economyand film music. |
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The Color of Money: A
Conference on Visuality and Economics Wealth and poverty are consistently powerful
stimuli for visual production, whether in celebratory, ambivalent or
condemnatory modes. Products of the mass media, as well as both marginal
subcultures and the elite art-world, must articulate themselves through and
against the framework set by general economic conditions. We invite
submissions that both subject these products to rigorous visual analysis, and
frame them within the historical and economic circumstances of their
appearance. |
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Hollywood vs.
Independent Society Portraiture The Artist and the Bourgeois |
Representations of
Wealth The Convulsive Boom Art Booms |
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