dave hickey with sari carel

 

Sari Carel : Often you discuss in your essays and writings a principle shift that occurred in American culture and economy as well as in the Art World starting in the early '70s. You describe this change as having considerable influence on the course of Contemporary Art since then. What are the origins and consequences of this paradigm shift?
Dave Hickey: The art world tends to be driven by its market, and throughout the '50s and the '60s it was a relatively small art world with dealers and collectors and one or two small museums. It was during that period that the most powerful and permanent American art in this century was made—from Abstract Expressionism and Pop, to Minimalism and Post-Minimalism. It was, in a real sense, a great Mediterranean moment created by 4000 heavily medicated human beings. And then in the late '60s we had a little reformation privileging museums over dealers and universities over apprenticeship, a vast shift in the structure of cultural authority. All of a sudden rather than an art world made up of critics and dealers, collectors and artists, you have curators, you have tenured theory professors, a public funding bureaucracy—you have all of these hierarchical authority figures selling a non-hierarchical ideology in a very hierarchical way. This really destroyed the dynamic of the art world in my view, simply because like most conservative reactions to the '60s it was aimed specifically at the destruction of sibling society—the society of contemporaries.

 

next