Managing the avant-garde

New Left Review

Volumn , Issue 32, 2005, Pages 105-116

  Jackson, Matthew Jesse ^a  

^a NONE

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EID: 20444489876     PISSN: 00286060     EISSN: None     Source Type: Journal    
DOI: None     Document Type: Review

References (38)

1. Tom Peters, Thriving on Chaos: Handbook for a Management Revolution, New York 1987, and
2. Michael Hammer and James Champy, Re-Engineering the Corporation: A Manifesto for Business Revolution, New York 1993.
3. Ève Chiapello, Artistes versus managers: le management culturel face à la critique artiste, Paris 1998, p. 220.
4. Andrew Ross, No-Collar: The Humane Workplace and Its Hidden Costs, New York 2003, pp. 103-8.
5. For an overview of design and management in the postwar United States, see Reinhold Martin, The Organizational Complex: Architecture, Media, and Corporate Space, Cambridge, MA 2003.
6. The avant-garde and business administration are considered in Luc Boltanski and Eve Chiapello, The New Spirit of Capitalism, London 2005;
7. see also the essays in the exhibition catalogue Work Ethic, University Park, PA 2003. For Sebastian Budgen's review of Boltanski and Chiapello
8. see NLR 1, January-February 2000, pp. 149-56.
9. See Hal Foster, The Return of the Real: The Avant-Garde at the End of the Century, Cambridge, MA 1996, and
10. Benjamin Buchloh, Neo-Avantgarde and Culture Industry: Essays on European and American Art from 3955 to 1975, Cambridge, MA 2000.
11. 'Interview with Ilya Kabakov' in Renée Baigell and Matthew Baigell, eds, Soviet Dissident Artists: Interviews After Perestroika, New Brunswick, NJ 1995, p. 142.
12. See Loren Graham, 'Cybernetics', in George Fischer, ed., Science and Ideology in Soviet Society, New York 1967, pp. 3-18;
13. see also Graham, Science, Philosophy, and Human Behavior in the Soviet Union, New York 1987.
14. Norbert Wiener, Cybernetics; or, Control and Communication in the Animal and the Machine, New York 1948 and
15. The Human Use of Human Beings: Cybernetics and Society, Boston 1950;
16. see also the treatment of art, society and cybernetics in Pamela Lee, Chronophobia: On Time in the Art of the 19605, Cambridge, MA 2004.
17. Wiener's books were published in Russian translation in 1958, two years before he visited the USSR, as cited by Graham, Science, Philosophy and Human Behavior, p. 280.
18. For an exhaustive account of cybernetics in the USSR, see Slava Gerovitch, From Newspeak to Cyberspeak: A History of Soviet Cybernetics, Cambridge, MA 2002.
19. Graham writes, 'It was quite common in the Soviet Union in the early sixties to find articles on the application of cybernetics in such surprising fields as musicology and the fisheries industry, although frequently such expositions involved distortions of the meaning of the term "cybernetics"': Science, Philosophy and Human Behavior, p. 271.
20. Kabakov, 'Modernism and Post-Modernism', unpublished manuscript, 1991, p. 1.
21. For a critical history of Moscow Conceptualism, see Ekaterina Dyogot, Russkoe iskusstvo xx veka, Moscow 2000. Soon to appear in English translation.
22. Ilya Kabakov in '"With Russia on Your Back": A Conversation Between Ilya Kabakov and Boris Groys', Parkett 34 (1992), p. 36.
23. Sven Lütticken provides a useful interpretative framework for such underground communities in 'Secrecy and Publicity: Reactivating the Avant-Garde', NLR 17, September-October 2002.
24. Ilya and Emilia Kabakov, Die Utopische Stadt und andere Projekte/The Utopian City and Other Projects, Bielefeld 2004.
25. Ilya and Emilia Kabakov, Dvorets Proektov/Der Palast der Projekte/The Palace of Projects, Essen 2001.
26. See Kabakov and Kabakov, Dvorets Proektov, p. 191.
27. The Palace's projects recall Fredric Jameson's discussion of utopian miniaturization in 'The Politics of Utopia', NLR 25, January-February 2004, in particular, pp. 40-1.
28. Interview with Marita Pfeiffer, press contact, Kokerei Zollverein, Essen, July 2002.
29. Lisa Liebmann, 'Top Ten List', Artforum, vol. 41, no. 4 (December 2002), p. 108.
30. For background on the Palais, see the analyses of contemporary curatorial practices in Nicolas Bourriaud, Esthétique relationnelle, Dijon 1998
31. and Postproduction, New York 2000.
32. Qu'attendez-vous d'une institution artistique du 21e siècle?, Paris 2001.
33. Spencer Johnson, Who Moved My Cheese?, New York 1998. Further information is available at www.whomovedmycheese.com.
34. For more background, see Doug Henwood, After the New Economy, New York 2003
35. as well as Thomas Frank, One Market Under God: Extreme Capitalism, Market Populism and the End of Economic Democracy, New York 2000.
36. Hal Foster considers these developments in Design and Crime: and Other Diatribes, London and New York 2002.
37. The emblematic figure in this process is the Guggenheim Foundation's motorcycle-riding, cigar-chomping director, Thomas Krens. Not only has Krens dramatically expanded the Guggenheim's empire, he invented the artworld's most fashionable persona: the roguish cultural manager. See Heinrich Klotz, 'Thomas Krens und das Guggenheim', in Hilmar Hoffmann, ed., Das Guggenheim Prinzip, Cologne 1999, pp. 42-55.
38. Theodor Adorno, 'Culture and Administration', trans. Wes Blomster, in The Culture Industry: Selected Essays on Mass Culture, London and New York 2002, p. 131.