This book offers an interdisciplinary analysis of the social practice of taste in the wake of Pierre Bourdieu's sociology of taste. For the first time, this book unites sociologists and other social scientists with artists and curators, art theorists and art educators, and art, design and cultural historians who engage with the practice of taste as it relates to encounters with art, cultural institutions and the practices of everyday life, in national and transnational contexts. The volume is divided into four sections. The first section on 'Taste and art', shows how art practice was drawn into the sphere of 'good taste', contrasting this with a post-conceptualist critique that offers a challenge to the social functions of good taste through an encounter with art. The next section on 'Taste making and the museum' examines the challenges and changing social, political and organisational dynamics propelling museums beyond the terms of a supposedly universal institution and language of taste. The third section of the book, 'Taste after Bourdieu in Japan' offers a case study of the challenges to the cross-cultural transmission and local reproduction of 'good taste', exemplified by the complex cultural context of Japan. The final section on 'Taste, the home and everyday life' juxtaposes the analysis of the reproduction of inequality and alienation through taste, with arguments on how the legacy of ideas of 'good taste' have extended the possibilities of experience and sharpened our consciousness of identity. As the first book to bring together arts practitioners and theorists with sociologists and other social scientists to examine the legacy and continuing validity of Pierre Bourdieu's sociology of taste, this publication engages with the opportunities and problems involved in understanding the social value and the cultural dispositions of taste 'after Bourdieu'. It does so at a moment when the practice of taste is being radically changed by the global expansion of cultural choices, and the emergence of deploying impersonal algorithms as solutions to cultural and creative decision-making.

Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully automated luxury communism' have seen art topple from its privileged place within the left's political imaginary as the artist has been reconceived as a prototype of the precarious 24/7 worker. Art and Postcapitalism argues that art remains essential for thinking about the intersection of labour, capitalism and postcapitalism not insofar as it merges work and pleasure but as an example of noncapitalist production. Reassessing the contemporary politics of work by revisiting debates about art, technology and in the nineteenth and twentieth century, Dave Beech challenges the aesthetics of labour in John Ruskin, William Morris and Oscar Wilde with a value theory of the supersession of capitalism that sheds light on the anti-work theory by Silvia Federici, Andre Gorz, Kathi Weeks and Maurizio Lazzarato, as well as the technological Cockayne of Srnicek and Williams and Paul Mason. Formulating a critique of contemporary postcapitalism, and developing a new understanding of art and labour within the political project of the supersession of value production, this book is essential for activists, scholars and anyone interested in the real and imagined escape routes from capitalism.

This book offers an interdisciplinary analysis of the social practice of taste in the wake of Pierre Bourdieu's sociology of taste. For the first time, this book unites sociologists and other social scientists with artists and curators, art theorists and art educators, and art, design and cultural historians who engage with the practice of taste as it relates to encounters with art, cultural institutions and the practices of everyday life, in national and transnational contexts. The volume is divided into four sections. The first section on 'Taste and art', shows how art practice was drawn into the sphere of 'good taste', contrasting this with a post-conceptualist critique that offers a challenge to the social functions of good taste through an encounter with art. The next section on 'Taste making and the museum' examines the challenges and changing social, political and organisational dynamics propelling museums beyond the terms of a supposedly universal institution and language of taste. The third section of the book, 'Taste after Bourdieu in Japan' offers a case study of the challenges to the cross-cultural transmission and local reproduction of 'good taste', exemplified by the complex cultural context of Japan. The final section on 'Taste, the home and everyday life' juxtaposes the analysis of the reproduction of inequality and alienation through taste, with arguments on how the legacy of ideas of 'good taste' have extended the possibilities of experience and sharpened our consciousness of identity. As the first book to bring together arts practitioners and theorists with sociologists and other social scientists to examine the legacy and continuing validity of Pierre Bourdieu's sociology of taste, this publication engages with the opportunities and problems involved in understanding the social value and the cultural dispositions of taste 'after Bourdieu'. It does so at a moment when the practice of taste is being radically changed by the globa

This book provides a ground breaking re-examination of the changing relationship between art, craft, and industry focusing on the transition from workshop to studio, apprentice to pupil, guild to gallery and artisan to artist. Responding to the question whether the artist is a relic of the feudal mode of production or is a commodity producer corresponding to the capitalist mode of cultural production, Beech reveals, instead, that the history of the formation of art as distinct from handicraft, commerce, and industry can be traced back to the dissolution of the dual system of guild and court. This essential history needs to be revisited in order to rethink the categories of aesthetic labour, attractive labour, alienated labour, nonalienated labour and unwaged labour that shape the modern and contemporary politics of work in art.

Art and Value is the first comprehensive analysis of art's political economy throughout classical, neoclassical and Marxist economics. It provides a critical-historical survey of the theories of art's economic exceptionalism, of art as a merit good, and of the theories of art's commodification, the culture industry and real subsumption. Key debates on the economics of art are examined in detail. Subjecting mainstream and Marxist theories of art's economics to an exacting critique, Art and Value concludes with a new Marxist theory of art's economic exceptionalism.

Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully automated luxury communism' have seen art topple from its privileged place within the left's political imaginary as the artist has been reconceived as a prototype of the precarious 24/7 worker. Art and Postcapitalism argues that art remains essential for thinking about the intersection of labour, capitalism and postcapitalism not insofar as it merges work and pleasure but as an example of noncapitalist production. Reassessing the contemporary politics of work by revisiting debates about art, technology and in the nineteenth and twentieth century, Dave Beech challenges the aesthetics of labour in John Ruskin, William Morris and Oscar Wilde with a value theory of the supersession of capitalism that sheds light on the anti-work theory by Silvia Federici, Andre Gorz, Kathi Weeks and Maurizio Lazzarato, as well as the technological Cockayne of Srnicek and Williams and Paul Mason. Formulating a critique of contemporary postcapitalism, and developing a new understanding of art and labour within the political project of the supersession of value production, this book is essential for activists, scholars and anyone interested in the real and imagined escape routes from capitalism.

In this stimulating collection of essays, John Roberts draws together a wide range of work on some of the most important artists of the post-war period. Written by leading art historians and artist-writers, the essays take a sharply critical look at the construction of modern art history. The artists discussed include Francis Picabia, Robert Smithson, Ad Reinhardt, Andy Warhol, Gerhard Richter, Mary Kelly, Cindy Sherman, Victor Burgin and Laurie Anderson. The extensive influence of post-structuralism on all schools of art history has brought about a widespread derogation of questions around intentionality and social agency. Free-ranging textual interpretation has come to outweigh causal analysis. Art Has No History! reverses this bias. Putting the artist back into art history, the essays reinstate the claims for historical materialism as a theory of the conflictual socialization of individuals. Acknowledging the dissemblances involved in the representations of artistic invention, the book challenges the self-image of traditional art history and the radical New Art History alike. In his introduction, John Roberts gives a fascinating account of the vicissitudes of Marxist writing on art, from Max Raphael and Arnold Hauser to T.J. Clark and Griselda Pollock. Placing the debates on intention and agency in their wider political context, he refers to what he calls "the continuing influence of historical materialism on the best Anglophone art writing today." Art Has No History! is a lively and iconoclastic contribution to that tradition.