Karl Marx, born in Trier, Germany and buried in London’s Highgate Cemetery, never visited the U.S. himself. Nearly a third of the 38 artists included in the Marx@200 Show in Pittsburgh, Pennsylvania are from outside the U.S. This provides powerful global context to a show that was born from a hunch that the 2008 global financial crisis had turned many artists toward Marx in a concentrated way. Curators Kathy Newman and Susanne Slavick – Carnegie Mellon University professors of literature and art, respectively – have brought together an impressive array of visual artworks themed around the figure of Marx, his writings, and capitalism’s depredations.Read More
Tom Wolfe is dead. He lived long enough to be a celebrated icon, emulated across the political spectrum. Wolfe affected the old-fashioned American pose of a chronicler, an H.L. Mencken or Horace Greeley, yet Mencken was a sincere Nietzchean misanthropist while Greeley, a friend of Marx, was a sincere liberal. Wolfe, on the other hand, was a reactionary poseur who dressed up in slave-owner’s garb nearly every day. While readable in the way one chortles at an Alex Jones video, Wolfe contributed more to the American intelligentsia’s self-mystification than just about any other writer of the last hundred years.Read More
Paris based cultural theorist Boris Groys exerts a strange pull on the minds of many who seem predisposed to accept what he has written about everything except the Soviet experience. When it comes to his writings about the relationship between art, curation and the internet, he is listened to and his ideas are formative of our contemporary discourse on modern art.
When it comes to his varied works on philosophers, we engage with his iconoclasm. There is something attractive about a way of looking at philosophy that draws its model from Duchamp’s (or R. Mutt’s) expo of an upside-down urinal.Read More