In recent posts, Vince Carducci examining the urban environment in terms of psychogeography, derive and detournment, and the gift and potlatch, explored the art of Detroit, the city at the epicenter of Fordism and ground zero of post – Fordist devastation. While I think his inquiry is illuminating, showing art playing an important role in democratic society, I am skeptical about his political utopianism, as he stands on the shoulders of Marx and the Situationists and Ken Wark’s account of them. I don’t think that the full power of the artwork is captured as a critique of capitalism or that the full political significance of the work is in its message. We disagree, once again, on art as propaganda and how art becomes politically significant.
Artwork, and the world it creates when appreciated, is, in my judgment, more important than context. The art, its independent domain, is where the action is, which is then related to a variety of different contexts. To be sure, Carducci shows how this works. Detroit artists don’t only speak to each other, creating work that communicates for themselves and their immediate audience. They speak to the de-industrializing world, providing insights, suggesting an alternative way of living. But this can work in many different ways, not necessarily tied to political programs of the left or the right or the center.
Take an example drawn from two past posts: Ivo Andric novelistic depiction of The Bridge on the Drina inspired Elzbieta Matynia to reflect on the way that bridge, connecting Serbia and Bosnia, provided a space for interaction between people from elsewhere, at the kapia, the public square on the bridge, enabling civility. Her account, in turn, inspired me to reflect upon the bridges I observe on my daily run through the public park that was the Rockefeller estate, and provided me with critical perspective for thinking about the devastation . . .
Read more: In Review: Democracy and Art for Art Sake (Without Elitism)
