My misrecognition was symptomatic of a tendency among artists who, through the use of a relatively humble toolkit and their own brains and muscles, identify with the wanderer, the vagrant, the scrap collector. There is a false homology between the wandering, working artist and the wandering, working worker. It’s an identification that can only ever (affectively) flow one way, and smoothes over sharp economic differences.
I am an artist in my free time, and I work so that I may have free time. The money I make from working does not support an extravagant practice, so I look for ways to work with low-cost, at-hand materials, at scales which can be stored in my apartment. These are political economic decisions I make which are determined by the jobs I hold, and the amount of space and money I have. Walking, looking, and even gambling are activities charged with pathos, but our imaginaries of these activities are one-sided when we abstract away all the particular economic determinants which compel them, however enjoyable they may be.
matt browning gandt show