To be more specific, there are three primary ways in which modern artists have resolved the problem of their livelihood: they have taken second jobs, they have found patrons to support them, or they have managed to place the work itself on the market and pay the rent with fees and royalties. The underlying structure that is common to all of these—a double economy and the conversion of market wealth to gift wealth—may be easiest to see in the case of the artist who has taken a secondary job, some work more or less unrelated to his art—night watchman, merchant seaman, Berlitz teacher, doctor, or insurance executive … The second job frees his art from the burden of financial responsibility so that when he is creating the work he may turn from questions of market value and labor in the protected gift-sphere. He earns a wage in the marketplace and gives it to his art.
The case of patronage (or nowadays, grants) is a little more subtle. The artist who takes a second job becomes, in a sense, his own patron: he decides his work is worthy of support, just as the patron does, but then he himself must go out and raise the cash. The artist who manages to attract an actual patron may seem to be less involved with the market. The patron’s support is not a wage or a fee for service but a gift given in recognition of the artist’s own. With patronage, the artist’s livelihood seems to lie wholly within the gift-sphere in which the work is made. Continue reading “GIFTS”
The laboratory of individual creativity transmutes the basest metals of daily life into gold through a revolutionary alchemy. The prime objective is to dissolve slave consciousness, consciousness of impotence, by releasing creativity’s magnetic power; impotence is magically dispelled as creative energy surges forth, genius serene in its self-assurance. So sterile on the plane of the race for prestige in the Spectacle, megalomania is an important phase in the struggle of the self against the combined forces of conditioning. The creative spark, which is the spark of true life, shines all the more brightly in the night of nihilism which at present envelopes us. As the project of a better organization of survival aborts, the sparks will become more and more numerous and gradually coalesce into a single light, the promise of a new organization based this time on the harmonizing of individual wills. History is leading us to the crossroads where radical subjectivity is destined to encounter the possibility of changing the world. The crossroads of the reversal of perspective. Continue reading “SPONTANEOUS CREATIVITY”