Wanting to fuck candy is the ultimate drive of any American, are we not just all in a snow globe within Ed Bernays mind palace? Turns out tailoring artmaking to surveillance state media platforms was bad for culture and our psyches?? Join us at the intersection of self-flagellation and market-driven analysis this week and learn how to count your clicks towards financial security and becoming the emotional equivalent of those technically edible packing peanuts. Reach out and touch dick…
⚠️ALERT: JOIN OUR SCHOOL, NEW CLASSES DROPPING SOON! Please reach out to join the discord for “Constructing the Real” NOW!
This week OK, Lucia and Sarah are subtextually talkin trash- the ipcc report that shall not be named and the unmentioned garbage days they all had in the triple goddess of Art Jobs- working 2 artist-but-not-art jobs, working on your actual shit in a windowless room, and aimless walks around bushwick. Think of this week’s discussion as the negative space around a drawing of a vase- wow, it looks just like someone getting skinned alive when you cross your eyes and pull your head back 6”-12” inches!
Looking for a shining light at the end of the tunnel? Check out the new Constructing the Real course where we’ll be reading Breaking Things At Work by Gavin Mueller and going from there. To join the Dunkin’ Junta, check out https://www.constructingthereal.com/volunteer to get on the discord where scheduling’s still being being hammered out.
OK and Lucia discuss burnout, survival gigs, the realities of gender presentation, and universal emotions. How does art influence the ruling class? And how do we examine our proximity to wealth, even if we aren’t collecting a living wage from that proximity. If you like the podcast and want more, please consider supporting us: https://www.patreon.com/artandlabor. Follow us on twitter and instagram. You can contact Art & Labor at email@example.com
READING - Painting as Theoretical Practice: Althusser and Supports/Surfaces
Let us read to you! This time an essay by Sami Siegelbaum in Selva Journal. Here is an excerpt: “although historical and dialectical materialism formed the basis of Supports/Surfaces’ theory and practice, it was not ‘art for the people.’ Instead, it was a ‘theoretical and ideological weapon for the petit bourgeois intelligentsia’ who would later join or ally with the working class. This thesis introduced the Maoist emphasis on the re-education of intellectuals into the sphere of French painting, while also acknowledging the limitations of a propagandistic figurative art.” Read the whole piece here, including pictures and footnotes. If you like the podcast and want more, please consider supporting us: https://www.patreon.com/artandlabor. Follow us on twitter and instagram.You cancontact Art & Labor at firstname.lastname@example.org