“9.5 Theses on Art and Class” by Ben Davis

1.0 Class is an issue of fundamental importance for art
1.1 Inasmuch as art is part of and not independent from society, and society is marked by class divisions, these will also affect the functioning and character of the sphere of the visual arts
1.2 Since different classes have different interests, and “art” is affected by these different interests, art has different values depending on from which class standpoint it is approached
1.3 Understanding art means understanding class relations outside the sphere of the visual arts and how they affect that sphere, as well as understanding class relations within the sphere of the visual arts itself
1.4 In general, the idea of the “art world” serves as a way to deflect consideration of both these sets of relations
1.5 The notion of an “art world” implies a sphere that is separate or set aside from the issues of the non-art world (and so separates it from class issues outside that sphere)
1.6 The notion of an “art world” also visualizes the sphere of the visual arts not as a set of conflicting interests, but as a harmonious confluence of professionals with a common interest: “art” (and so denies class relations within that sphere)
1.7 Anxiety about class in the sphere of the visual arts manifests in critiques of the “art market”; however, this is not the same as a critique of class in the sphere of the visual arts; class is an issue that is more fundamental and determinate than the market
1.8 The “art market” is approached differently by different classes; discussing the art market in the absence of understanding class interests serves to obscure the actual forces determining art’s situation
1.9 Since class is a fundamental issue for art, art can’t have any clear idea of its own nature unless it has a clear idea of the interests of different classes

2.0 Today, the ruling class, which is capitalist, dominates the sphere of the visual arts
2.1 It is part of the definition of a ruling class that it controls the material resources of society
2.2 The ruling ideologies, which serve to reproduce this material situation, also represent the interests of the ruling class
2.3 The dominant values given to art, therefore, will be ones that serve the interests of the current ruling class
2.4 Concretely, within the sphere of the contemporary visual arts, the agents whose interests determine the dominant values of art are: large corporations, including auction houses and corporate collectors; art investors, private collectors and patrons; trustees and administrators of large cultural institutions and universities
2.5 One role for art, therefore, is as a luxury good, whose superior craftsmanship or intellectual prestige indicates superior social status
2.6 Another role for art is to serve as financial instrument or tradable repository of value
2.7 Another role for art is as sign of “giving back” to the community, to whitewash ill-gotten gains
2.8 Another role for art is symbolic escape valve for radical impulses, to serve as a place to isolate and contain social energy that runs counter to the dominant ideology
2.9 A final role for art is the self-replication of ruling-class ideology about art itself—the dominant values given to art serve not only to enact ruling-class values directly, but also to subjugate, within the sphere of the arts, other possible values of art

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(Submitted by the author for Occupennial Blog/Library - Admin)