The Style is Death: the Internet, late capitalism and claiming agency through contemporary art.

Abstract

This thesis explores the tension between art as a commodity and the desire for artists to remain critical (and resist commodification) within the era of late capitalism. Through contemplating the role of the contemporary artist, this thesis aims to provide an alternative to the notion that painting is a pure commodity, as painting can be manufactured and distributed via the Internet to a wide audience. This thesis draws on the work of theorists such as Boris Groys, Max Haiven, Alex Gawronski, Guy Debord, and Isabelle Graw. These theorists argue that the Internet has changed artists’ practices and influenced artistic style. As a result, there is now a lack of criticality within the artistic framework due to the co-opting nature of late capitalism, which serves the commodity. Alex Israel and Jacob Kassay are two examples of contemporary artists who benefit from the advantages of the Internet. There has been a proliferation of highly branded entrepreneurs who promote their work via the Internet and social media. In addition, there has been a decrease in the emphasis placed on criticality and aura in the arts. This has led to a loss of art that challenges the human psyche. However, the crucial role contemporary artists play is in resisting the commodification of their work – a reaction to the underlying neoliberalism that pervades the art world today. An alternative response to contemporary art’s complicity in a late capitalist world, is to reject the notion of a brand as a style. Thus, contemporary artists can gain a sense of agency by challenging the capitalist system. Specifically, the thesis examines whether dissatisfaction with the digital world is reflected in contemporary art, and whether physical presence is today more crucial than ever. This thesis examines a world that strives towards perfection, questioning contemporary art’s role in society, and emphasises the main advantage that contemporary art, specifically painting, possesses, which is its imperfection.