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Across a powerfully wide-ranging set of themes, theoretical registers and historical examples, John Roberts analyses the key problems that continue to confront art after conceptual art, in the light of art’s longstanding relationship to market and institution the commodity and mass culture: namely, artistic labour and technology, modernity and the ‘new’, art and negation, identity and subjectivity, agency and audience, form and value. In these terms, the book provides a rigorous and ambitious, examination of the limits and possibilities of art’s contribution to emancipatory discourse and practice.
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technique (the advanced level of technology and science as it expressed in the technical conditions of social reproducibility)? In this article, I look at the modern and contemporary dynamics of this question. Keywords Skill, deskilling, avant-garde, modernism, readymade, productive labour, artistic labour

In: Historical Materialism
This volume deals with the commitment in the defense of egalitarian values by theatrical creators of the Spanish republican exile of 1939. Their innovative narrative and visual discourse offer models of masculinity and femininity that represent the change in gender paradigms derived from the rising leading role of women in the public sphere. The book approaches the potential differentiation of work produced by them in terms of sexual identity, especially in questions as maternity and conjugality, showing the position of society with regard to the professional women. It also explains the influence of the professional roles achieved by the republican Spanish women in the international scene –Mexico, France, Argentina, Cuba, Chile, El Salvador, Guatemala, Uruguay– thanks to their use of modern artistic languages in works located between Vanguard and Tradition. They were also known for their work in Cinema, Radio, Television, Pedagogy and Translation. All these fields let women creators and managers continue with their artistic labor in the republican exile. Without forgetting the links with the country of origin, they were the best ambassadors of those artistic vanguards that so influenced the modernization of ideological and esthetic discourse in Western societies.

Este volumen indaga sobre el compromiso en la defensa de valores igualitarios por parte de los creadores y creadoras teatrales del exilio republicano de 1939, cuyos innovadores discursos narrativos y visuales presentan unos modelos de masculinidad y feminidad representativos del cambio en los paradigmas de género acordes con el creciente protagonismo de las mujeres en la Esfera pública. Aborda la potencial diferenciación de sus realizaciones en relación con su identidad sexual, en especial en cuestiones como la maternidad y la conyugalidad, y la posición de la sociedad ante las mujeres profesionales. Trata asimismo de la influencia que tuvo la agencia femenina republicana en la escena internacional -México, Francia, Argentina, Cuba, Chile, El Salvador, Guatemala, Uruguay-, gracias a la modernidad de sus lenguajes expresivos, entre la Vanguardia y la Tradición, y a su trabajo en el Cine, la Radio, la Televisión, la Pedagogía o la Traducción, que permitió a estas creadoras y gestoras continuar su labor artística durante su exilio. Sin olvidar sus vínculos con su país de origen, fueron los mejores embajadores de aquellas vanguardias históricas que tanto influyeron en la modernización de los discursos ideológicos y estéticos de las sociedades occidentales.
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Abstract

In the late 1960s, Arte Povera artist Marisa Merz asserted a process-based object as the foundation of a practice rooted in the politics of artistic labor. Her Scarpette, tiny shoes knitted with copper wire or nylon thread, were neither functional nor coldly conceptual. Her colleague Alighiero Boetti contemporaneously launched a geopolitical project that left aesthetic decisions up to his Afghan and Pakistani collaborators, women highly skilled in the craft of embroidery. Both Merz and Boetti had defaulted to a predetermined order, a repetitive action, a system, as a way of marking their engagement with the transhistorical and universal processes of everyday life. Their works evoke the mani sapienti of fashion and design ateliers – the painstaking handiwork hierarchically positioned somewhere beneath the maestro’s vision – and align the 1960s Italian avant-garde with concurrent advances in craft and design. What is to distinguish Merz’s knitting and Boetti’s outsourced embroidery from Ottavio Missoni’s zigzagging knitting machines? Largely unbeknownst to contemporary fashion consumers, Missoni’s iconic knitwear was born of found machinery, capable of generating one motif that by default, became its hallmark. The repetitive, systematic processes of hand-stitching, sewing, and embroidery associated with the fashion industry became the mechanisms of radical aesthetic engagement. In the post-World War ii era, Italian artists and artisans alike had ‘opted out’ of a trickle-down dynamic in aesthetic experimentation. Conceding to a predetermined system – knitting, embroidery, machines – they defaulted to order and revered the mani sapienti processes of Italy’s fashion industry in an interdisciplinary, non-hierarchical socio-cultural practice.

In: Engaging with Fashion

@gmail.com ] Katja Praznik is an Assistant Professor at the State University of New York, Buffalo. Her research focuses on the politics of unpaid artistic labour during the demise of the welfare-state regimes. She is the author of The Paradox of Unpaid Artistic Labour: Artistic Autonomy, the Avant-Garde and

In: Historical Materialism
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art has radically deflated what the notion of artistic labour as free labour once promised aesthetically, insofar as the enculturation of aspects of the labour process in the new economy and the artisanal erosion of art itself as its falls under the demands of technologically-driven production and

In: Art and Emancipation
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from the artisan through the adoption of the humanities, science, political theory, psychoanalysis, semiotics and so on. A book-length analysis of the political economy of artistic labour may not yet be a routine test of legitimacy for an artist, but the ability to sustain an argument and assemble

In: Art and Labour
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qualities of art in general correspond to the imputed qualities of a particular type of producer – the artist. While prior to the eighteenth century, there was no such thing as artistic labour as such , only the specific skills of painting, carving, printing, drawing and so on, by the beginning of the

In: Art and Labour
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information, the play of cutting, pasting, morphing, and sampling, and the ambient and nomadic aesthetics of a networked and programmable culture?” (p. 7) Plenty, I believe. T. SWISS 120 Collaborative work redefines artistic labor in what is for me and others new and complicated ways: What is the

In: Putting Knowledge to Work & Letting Information Play
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emergence of art in general (in the wake of the Fine Arts) focuses on an analysis of the changing social form of artistic labour. Art is an abstract category but it is formulated, I want to argue, as part of the reorganisation of work on the threshold of industrialisation. Rather than dismissing the myth of

In: Art and Labour