In part 2 with Max Haiven, author of Art After Money, Money After Art, we dig into his book in earnest, including readings of and discussions about: his studies of social movements; how philosophers/theoreticians (mainly French) came to enter the discourse around contemporary art; Joseph Beuys’ work with bank notes (ie money); the radical imagination, which he derives from the philosopher Cornelius Castoriadis, but applies to the contemporary and in particular to financialization, but at its core is about taking a skeptical view of all the constructed institutions in our society that we are co-constructing all the time…including art; Hans Haacke, including his epis piece of institutional critique at the Museum of Modern Art (which led to the curator of the show he was in’s firing), and which leads Max to questions around what the ruling class wants from their art, and the contradictions therein; Lee Lozano, the pioneering conceptual artist and painter who did pieces including offering a jar of money to visitors to her studio, boycotting women, and eventually “Dropout Piece” which entailed her leaving the art world for the rest of her life, and martyred her, something Max suggests she would have railed against; the type of art world insider Max was able to speak with, and what his takeaways are from talking with them; Zach Gough’s participatory art experience/demonstration involving giving out an invented currency at levels respective to the hierarchies at conferences, and process of how those social hierarchies play out in real life (more or less); the incredible cognitive dissonance Max has experienced at art fairs, and his observation of multiple worlds co-existing simultaneously, and the act of their often ignoring each other (including him, since he was only a researcher); and finally, Abbie Hoffman and the Yippies’ 1967 intervention at the New York Stock Exchange, how contemporary iterations of that piece have been implemented, and how the spirit of the Yippies – both the best of it (community building, suffusing art into life), and the worst of it (contemporary art’s surface-y bombast and machinations) – very much exists in a lot of contemporary art, and why.

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