The social bases of political conflict thus erased, consensus historians go on to suppress the significance of antislavery politics, even to the point of denying that politics played any role in whatsoever in the destruction of slavery. These crucial erasures are once again explained by reference of a broad political consensus—not the liberal consensus of Hofstadter and Hartz, but the smothering, all-consuming consensus in favor of “white male supremacy.” It’s still consensus history; it’s just a different consensus.
The “white working class,” like the “black community,” is an abstraction that does not exist anywhere in the real world. The U.S. working class is broad and diverse. It’s not even all that white any more and certainly not all that male. Its conditions are determined by its position within a political economy but, like everyone else, the experience and consciousness of individual workers is formed by a whole series of contingent relationships and experiences. The recent use of the trope of the angry white working class attempts to extract white workers from these class dynamics and present them as a demonized and marginalized natural group.
These three texts are a small part of a significant body of unpublished and uncollected work by the poet and critic Allen Grossman.
The death of Martin Luther King leaves, in my imagination, no liberal position. Only a radical critique of learning and, if that is still worthwhile, of political life, is sufficient.
Ladies and Gentlemen, the Iliad does not believe in you, the Aeneid does not regard you as real, the Divine Comedy does not understand you — and yet each demands of you that you believe in it, understand it, and regard it as real.
“Where is it?” “In this mist.”
Nonsite is pleased to announce the publication of Promesse du Bonheur, a collection of new poems by Michael Fried accompanied by more than thirty photographs by James Welling. The book is appearing under the double aegis of nonsite.org and David Zwirner Books, and is available through David Zwirner Books and Amazon. To mark its publication, we offer an essay by Fried analyzing one of the poems in the collection, “September Sky,” along with an abstract photograph by Welling which serves, in the book, as an introduction to the collection.
Aravena’s entire Biennale, then, its emphasis on “natural” materials—the omnipresence of earthen brick and tile—its insistence on the collaboration among state and humanitarian actors, all lead to the quayside behind the Arsenale, to a Catalan vault through which a starchitect advances his brand and a global conglomerate advances its sales.
Formalism assumes that the features being picked out are part of a “best possible” construction of what was done when the work was created. In this way formalism can work equally well for those who see intention as equivalent to meaning and those who see intention as a naïve and unworkable construct. In the latter case it is able at once to attribute significance through the quasi-intentionalist mode of writing described here, and to pass in everyday description as “anti-intentionalist,” as writers from Wölfflin and Shklovsky to Clement Greenberg have combined this general way of operating with explicit denials of the admissibility of artists’ actual, consciously made, statements about their own work.
Contrary to how he was portrayed in the mainstream media Trump did not talk only of walls, immigration bans, and deportations. In fact he usually didn’t spend much time on those themes. Don’t get me wrong, Trump is a racist, misogynist, and confessed sexual predator who has legitimized dangerous street-level hate and his administration will almost certainly be a terrible new low in the evolution of American authoritarianism. But the heart of his message was something different, an ersatz economic populism that spoke directly, clearly and emotionally to legitimate working class concerns.
A politics whose point of departure requires harmonizing the interests of the black poor and working class with those of the black professional-managerial class indicates the conceptual and political confusion that underwrites the very idea of a Black Freedom Movement. The prevalence of such confusion is lamentable; that it go unchecked and without criticism is unacceptable. The essays that appear in this section will critique this tendency and offer in its stead a vision of what we think ought to be.
But in a world where inequality has been increasing and where the fastest growing jobs are mainly the lowest paying ones, why should we be inspired by a vision that instead of promising to pay people better, promises only to make sure that the badly-paid are not disproportionately black or Latino? And that men are just as fucked as women? It’s easy to see the attractions of bourgeois anti-racism and bourgeois feminism for white women and people of color seeking to establish themselves among the (shrinking) bourgeoisie. From their standpoint we should be as concerned that black, Latino, or female-owned businesses are relatively poorer than their white or male counterparts as we are with the growing power of employers to obtain labor on increasingly exploitative terms.
Is damaged art still art? There are two ways to approach the question. The first is ontological; it is a question of how much a work of art can be changed, damaged, or altered (the water-logged painting, the shattered sculpture, the abridged novel) and still be thought of as the same work. The other way […]
What should the revolutionary poet be doing, when crisis – whether it be economic, social, environmental, or for that matter, aesthetic – appears increasingly frequent, inevitable, and irreversible? Or to ask the question in a slightly different form: What poetic forms do these conditions of crisis seem to require?
Art as such does not pre-exist capitalism and will certainly not survive it, but rather presents an unemphatic alterity to it: art is not the before or after of capitalism, but its determinate other.
Pictures from all stages of Dzubas’s art since the 40’s will in time to come thrust themselves increasingly into attention: enough of them to establish him once and for all where he belongs, which is on the heights.