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Dark Matter
by
Gregory Sholette
in
Anthropology
/ Applied anthropology
/ Art exhibitions
/ Art history
/ Art museums
/ Art periods
/ Arts
/ Arts organizations
/ Arts participation
/ Behavioral sciences
/ Bourgeois
/ Clinical psychology
/ Cognitive disorders
/ Cultural anthropology
/ Cultural institutions
/ Cultural studies
/ Cultural values
/ Dark matter
/ Delirium
/ Exotic matter
/ Gray literature
/ Human societies
/ Literary genres
/ Literature
/ Matter
/ Mental illness
/ Middle class
/ Modern art
/ Museums
/ Physical sciences
/ Physics
/ Psychology
/ Social classes
/ Social stratification
/ Social structures
/ Sociology
/ Visual arts
/ Zines
2017
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Dark Matter
by
Gregory Sholette
in
Anthropology
/ Applied anthropology
/ Art exhibitions
/ Art history
/ Art museums
/ Art periods
/ Arts
/ Arts organizations
/ Arts participation
/ Behavioral sciences
/ Bourgeois
/ Clinical psychology
/ Cognitive disorders
/ Cultural anthropology
/ Cultural institutions
/ Cultural studies
/ Cultural values
/ Dark matter
/ Delirium
/ Exotic matter
/ Gray literature
/ Human societies
/ Literary genres
/ Literature
/ Matter
/ Mental illness
/ Middle class
/ Modern art
/ Museums
/ Physical sciences
/ Physics
/ Psychology
/ Social classes
/ Social stratification
/ Social structures
/ Sociology
/ Visual arts
/ Zines
2017
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Do you wish to request the book?
Dark Matter
by
Gregory Sholette
in
Anthropology
/ Applied anthropology
/ Art exhibitions
/ Art history
/ Art museums
/ Art periods
/ Arts
/ Arts organizations
/ Arts participation
/ Behavioral sciences
/ Bourgeois
/ Clinical psychology
/ Cognitive disorders
/ Cultural anthropology
/ Cultural institutions
/ Cultural studies
/ Cultural values
/ Dark matter
/ Delirium
/ Exotic matter
/ Gray literature
/ Human societies
/ Literary genres
/ Literature
/ Matter
/ Mental illness
/ Middle class
/ Modern art
/ Museums
/ Physical sciences
/ Physics
/ Psychology
/ Social classes
/ Social stratification
/ Social structures
/ Sociology
/ Visual arts
/ Zines
2017
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Book Chapter
Dark Matter
2017
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Overview
What does one make of a conference entitled Marxism and Visual Arts Now (MAVAN), in which examples of contemporary visual art were all but absent and the few speakers who did address recent artistic practices hardly strayed from citing works and practices not already ensconced within the institutional art world? One possible explanation for this conspicuous absence is the understandable resignation that the progressive scholar or artist experiences when confronting a world dominated, almost without exception, by images of a triumphant, global capitalism. This gloom is unintentionally compounded by the MAVAN conference itself, in so far as it concentrates knowledge
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