Dave Beech is an artist in the collective Freee. He teaches Fine Art at Chelsea College of Art & Design and writes for Art Monthly. He has exhibited at the Istanbul Biennial, the Liverpool Biennial and recently participated in Part of the Game, NGBK, Berlin and Form, Perform, Reform, at Generator Projects, Dundee. His book ‘Art & Value: Economic Exceptionalism in Classical, Neoclassical and Marxist Economics’ is forthcoming as part of the Historical Materialism book series.
Radical historian Peter Linebaugh will talk about the value of what we hold in common, how it can be threatened by private interests, and the possibilities for resistance.
Peter Linebaugh is a child of empire, schooled in London, Cattaraugus, N.Y., Washington D.C., Bonn, and Karachi. He went to Swarthmore College during the civil rights days. He has taught at Harvard University and Attica Penitentiary, at New York University and the Federal Penitentiary in Marion, Illinois. He used to edit Zerowork and was a member of the Midnight Notes Collective. He coauthored Albion’s Fatal Tree, and is the author of The London Hanged, The Many-Headed Hydra (with Marcus Rediker), The Magna Carta Manifesto, and introductions to a Verso book of Thomas Paine’s writing and PM’s new edition of E.P. Thompson’s William Morris: Romantic to Revolutionary. He works at the University of Toledo, Ohio.
The presentation will discuss the problem of assessing value in art, and of constructing critique. It will look briefly on Marx’s theory of labour, followed by a revisitation of post-modern theory, as exemplified by Jean-François Lyotard’s ‘economic genre’ and Jean Baudrillard’s ‘sign value’, and concluding with an understanding of critique as a ways of changing the currency, as found in Michel Foucault’s last seminars.
Simon Sheikh is a Reader in Art and Programme Director of Curating at Goldsmiths. His work is concerned with the relationships between exhibition-making and political imaginaries.
The centrality of art’s market to its public dissemination impacts not simply
upon artists’ support structures but also upon the ways in which their work is
valued in economic and aesthetic terms. Measurement of any value (cultural,
aesthetic or monetary) in contemporary art has been at best occasional,
anecdotal, and disparate. Indeed, proposals to introduce systemic analysis
and measurement into contemporary art are often treated with suspicion by
those who oppose art’s regulation as yet another infringement of
accountability to metrics. Should art’s value be measurable and should its
price be made public? How does the idea of intrinsic artistic value support the
ways in which art and its institutions are financed and shaped?
Drawing on sociological research carried out by Raymonde Moulin in the
1960s, in this lecture I will attempt to describe the ways in which we attribute
value to contemporary art.
Dr Andrea Phillips is Professor of Fine Art and Director of PhD programmes in
the Art Department at Goldsmiths. Andrea lectures and writes about the
economic and social construction of publics within contemporary art. Recent
and ongoing research projects include: Curating Architecture, a think tank and
exhibition examining the role of exhibitions in the making of architecture’s
social and political forms (AHRC 2007-2009:
Agent and Attendants, a research project and set of publications that address
the role of artistic and curatorial production in contemporary political milieus
(in collaboration with SKOR 2009-2012:
co-director with Suhail Malik, Andrew Wheatley and Sarah Thelwall of the
research project The Aesthetic and Economic Impact of the Art Market, an
investigation into the ways in which the art market shapes artists’ careers and
public exhibition (2010-ongoing), Public Alchemy, the public programme for
the Istanbul Biennial 2013 (co-curated with Fulya Erdemci), Tagore,
Pedagogy and Contemporary Visual Cultures (in collaboration with Grant
Watson and Iniva, AHRC 2013-2014: http://art.gold.ac.uk/tagore/), How to
Work Together (in collaboration with Chisenhale Gallery, Studio Voltaire and
The Showroom, London 2014-ongoing: http://howtoworktogether.org/).
All lectures take place on Mondays from 5-7PM in Professor Stuart Hall
Building (formally New Academic Building) LG 02
If we have mostly come to see, think and listen “like states”—attributing harmony and symmetry and order to state rule, and seeing dissonance and disorder as part and parcel of anarchy, then one of the primary functions for protest art in this era might just be to enable and enact new visions, new sounds and new aesthetics of being – in the process of engaging, participating and enjoying protest art, we redefine politics, art and desire itself. In what follows, I want to follow a trail of potentially anarchistic and avowedly queer image making to see where it may lead, to ask what aesthetics emerge from this derive, what worlds can be glimpsed, what new modes of distraction, disruption and disorder they offer us and what, finally, queerness looks like in the wild.
Judith (Jack) Halberstam, Ph.D. is one of the leading voices in gender theory and queer studies. She has also written extensively on literature, film and visual arts. Judith Halberstam exploded into the forefront of gender studies with her book Female Masculinity. Judith Halberstam has also written the books The Drag King Book, Skin Shows: Gothic Horror and the Technology of Monsters, andIn a Queer Time and Place: Transgender Bodies, Subcultural Lives. Judith Halberstam teaches at the University of Southern California. She holds a professorship and directorship of The Center for Feminist Research. Judith Halberstam has also received invitations to lecture on Gender Studies at Harvard University and the University of Basel, Switzerland. Judith Halberstam’s honors include receiving Compton-Noll Award for Best LGBT Essay, UCSD Humanities Center Fellowship, Awarded the Publisher’s Triangle Judy Grahn Award for Lesbian Non-Fiction for Female Masculinity, REFLAGS Visiting Professor of Gay and Lesbian Studies at Yale University, and Draper Postdoctoral Fellow, Liberal Studies, NYU.
All lectures take place on Mondays from 5-7PM in New Academic Building LG 02
A Feeling for Things–A Conversation around the work of Jane Bennett
In this paper I extend my interest in the peculiar reverberations and intensities created by mothers in the city. Proceeding from an assumption that human and nonhuman actants share an inherent equality of being, I have previously attempted to trace the desire paths that mothers make in cities by playing close attention to the ‘stuff’ of motherhood, both the ‘tool-beings’ that enable maternal labour (such as clothes, blankets, bottles, teats, milk powder, sterilizers, breast pumps, feeding spoons, bibs, pacifiers, rattles, nappies, wipes, changing mats, creams, powders, cribs, cots, baskets, baby monitors, prams, buggies, carry cots, slings, back packs, car seats), and how mothers and their stuff render a certain viscous subjectivity that shows up when mothers navigate the city, bumping into street-furniture, negotiating curbs, riding buses, crossing roads, with their bags and buggies and babies and bottles in tow. What emerges from tracking mothers in the city is a newly vibrant ‘maternal’ materialism in which it is difficult to disarticulate subjects (the world of humans) and objects (the sphere of physical or nonhuman things). This maternal materialism has recursive effects on public spaces and how the public itself is configured.
In this paper, I further develop a notion of ‘object-orientated maternity’. Object-orientated philosophy (dubbed OOO) is part of a new interest in ‘speculative’ realism that encourages more intelligent and sustainable engagements with vibrant matter and lively things, so that a vital materiality can take shape around re-experiencings of the world populated by animate things, rather than passive objects (O’Rourke, 2012). A recent set of debates however, has emerged in this field that opens the question of what an ‘object-orientated feminism’ might look like – if passivity and activity are gendered, for instance, then an object-orientated feminism might draw attention to the gendering at work in the distinction between lively active matter and passive objects, and may choose to champion the passive qualities such as viscosity, stuckness, slowness, impededness, and inertia that are associated with the encumbered figure of the mother as she attempts to move with her stuff through the city. Drawing on Jane Bennett’s work both on vibrant matter and on hoarding, I investigate the particular relationship that mothers have with stuff where by finding and being found become reciprocal ethical encounters between things.
Lisa Baraitser is a Reader in Psychosocial Studies, in the Department of Psychosocial Studies at Birkbeck, University of London, and a psychotherapist in independent practice. She writes on motherhood and the maternal, feminist theory, ethics and subjectivity, affect, temporality and event. She is author of Maternal Encounters: The Ethics of Interruption (Routledge, 2009) which was joint winner of the 2009 Feminist and Women’s Studies Book Prize for outstanding feminist scholarship. Her current work is on gender and temporality, particularly the temporalities of repetition, delay, endurance, staying, waiting, maintenance and monotony and their relation to the contradictory and relentless temporalities of capitalism.