Years active | From Pop Art in the 1950s and 1960s to the commodity art of the 1980s and 1990s |
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Location | Germany |
Major figures | Michael Schudson, Mark Fisher, Gerhard Richter, Sigmar Polke, Wolf Vostell, and Konrad Lueg |
Part of a series on |
Capitalism |
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The term "capitalist realism" has been used, particularly in Germany, to describe commodity-based art, from Pop Art in the 1950s and 1960s to the commodity art of the 1980s and 1990s. [1] When used in this way, it is a play on the term "socialist realism". Alternatively, it has been used to describe the ideological-aesthetic aspect of contemporary corporate capitalism in the West.
Although attested earlier, [2] the phrase "capitalist realism" was first used in the title of the 1963 art exhibition in Düsseldorf, Demonstration for Capitalist Realism, which featured the work of Gerhard Richter, Sigmar Polke, Wolf Vostell, and Konrad Lueg. [3] The exhibition's participants focused upon depictions of Germany's growing consumer culture and media-saturated society with strategies, in part, influenced by those of their American Pop [4] counterparts.
Capitalist realism is a German art movement co-founded in 1963 by artist Sigmar Polke. [5] Polke embraced the advertising and publicity commonly found in the popular press in renderings of everyday consumer items. Often ironic and with critical overtones of society and politics, the Capitalist Realism movement is considered more explicitly political than conventional Pop Art. [6]
In the mid-1980s, Michael Schudson used the term "capitalist realism" to describe mainstream practices in advertising. [7] Chapter seven of Schudson's Advertising: The Uneasy Persuasion compares the messages and appeals of advertising to those found in the Socialist Realism of the Soviet Union. [8] In his account, the realism of advertising promotes a way of life based on private consumption, rather than social, public achievement. [9]
The term next appeared in 2009 with the publication of Mark Fisher's book Capitalist Realism: Is There No Alternative?. [10] Fisher argues that the term "capitalist realism" best describes the current global political situation, which lacks visible alternatives to the capitalist system which became dominant following the fall of the Soviet Union. [10] His argument is a response to, and critique of, neoliberalism and new forms of government which apply the logic of capitalism and the market to all aspects of governance.
His ideology refers to a perceived "widespread sense that not only is capitalism the only viable political and economic system, but also that it is now impossible even to imagine a coherent alternative to it". [11]
As a philosophical concept, capitalist realism is influenced by the Althusserian conception of ideology. [12] Fisher proposes that within a capitalist framework there is no space to conceive of alternative forms of social structures, adding that younger generations are not even concerned with recognizing alternatives. [13] He proposes that the 2008 financial crisis compounded this position. Rather than catalyzing a desire to seek alternatives to the existing model, the crisis reinforced the notion that modifications must be made within the existing system. Rather than shake it loose from its foundations, the crash confirmed to the populace the necessity of capitalism.
Capitalist realism as I understand it cannot be confined to art or to the quasi-propagandistic way in which advertising functions. It is more like a pervasive atmosphere, conditioning not only the production of culture but also the regulation of work and education, and acting as a kind of invisible barrier constraining thought and action. [14]
Fisher argues that "capitalist realism has successfully installed a 'business ontology' in which it is simply obvious that everything in society, including healthcare and education, should be run as a business" [15] (cf. New Public Management).
Following the publication of Fisher's work, the term has been picked up by other literary critics. [16]
The term has also been used by Japanese scholar Yoshifusa Ichii to characterize the way that the International Olympic Committee and its stakeholders, along with the Japanese state, took advantage of the 2020 Summer Olympics in Tokyo and the COVID-19 pandemic in order to further expand capitalist profits, state power, and national mobilization. Ishii combines Fisher's capitalist realism with Jules Boykoff's "celebration capitalism" to explain that "the celebration capitalism of the Olympics reinforces capitalist realism by creating a state of exception, which maximizes the flow of capital while invoking the biopolitics of a “new lifestyle” that echoes wartime slogans of national mobilization." [17]
Capitalism is an economic system based on the private ownership of the means of production and their operation for profit. The defining characteristics of capitalism include private property, capital accumulation, competitive markets, price systems, recognition of property rights, self-interest, economic freedom, meritocracy, work ethic, consumer sovereignty, economic efficiency, profit motive, a financial infrastructure of money and investment that makes possible credit and debt, entrepreneurship, commodification, voluntary exchange, wage labor, production of commodities and services, and a strong emphasis on innovation and economic growth. In a market economy, decision-making and investments are determined by owners of wealth, property, or ability to maneuver capital or production ability in capital and financial markets—whereas prices and the distribution of goods and services are mainly determined by competition in goods and services markets.
Postmodern music is music in the art music tradition produced in the postmodern era. It also describes any music that follows aesthetical and philosophical trends of postmodernism. As an aesthetic movement it was formed partly in reaction to modernism but is not primarily defined as oppositional to modernist music. Postmodernists question the tight definitions and categories of academic disciplines, which they regard simply as the remnants of modernity.
Socialism is an economic and political philosophy encompassing diverse economic and social systems characterised by social ownership of the means of production, as opposed to private ownership. It describes the economic, political, and social theories and movements associated with the implementation of such systems. Social ownership can take various forms, including public, community, collective, cooperative, or employee. As one of the main ideologies on the political spectrum, socialism is considered the standard left wing ideology in most countries of the world. Types of socialism vary based on the role of markets and planning in resource allocation, and the structure of management in organizations.
Anti-capitalism is a political ideology and movement encompassing a variety of attitudes and ideas that oppose capitalism. In this sense, anti-capitalists are those who wish to replace capitalism with another type of economic system, such as socialism or communism.
In the arts and literature, the term avant-garde identifies an experimental genre or work of art, and the artist who created it, which usually is aesthetically innovative, whilst initially being ideologically unacceptable to the artistic establishment of the time. The military metaphor of an advance guard identifies the artists and writers whose innovations in style, form, and subject-matter challenge the artistic and aesthetic validity of the established forms of art and the literary traditions of their time; thus, the artists who created the anti-novel and Surrealism were ahead of their times.
Neoliberalism is both a political philosophy and a term used to signify the late-20th-century political reappearance of 19th-century ideas associated with free-market capitalism. The term has multiple, competing definitions, and is often used pejoratively. In scholarly use, the term is often left undefined or used to describe a multitude of phenomena. However, it is primarily employed to delineate the societal transformation resulting from market-based reforms.
Late capitalism is a concept first used in print by German economist Werner Sombart at the start of the 20th century. In the late 2010s, the term began to be used in the United States and Canada to refer to corporate capitalism.
Gerhard Richter is a German visual artist. Richter has produced abstract as well as photorealistic paintings, and also photographs and glass pieces. He is widely regarded as one of the most important contemporary German artists and several of his works have set record prices at auction, with him being the most expensive living painter at one time.
One-Dimensional Man: Studies in the Ideology of Advanced Industrial Society is a 1964 book by the German–American philosopher and critical theorist Herbert Marcuse, in which the author offers a wide-ranging critique of both the contemporary capitalist society of the Western Bloc and the communist society of the Soviet Union, documenting the parallel rise of new forms of social repression in both of these societies, and the decline of revolutionary potential in the West. He argues that the "advanced industrial society" created false needs, which integrated individuals into the existing system of production and consumption via mass media, advertising, industrial management, and contemporary modes of thought.
Sigmar Polke was a German painter and photographer.
Post-capitalism is in part a hypothetical state in which the economic systems of the world can no longer be described as forms of capitalism. Various individuals and political ideologies have speculated on what would define such a world. According to classical Marxist and social evolutionary theories, post-capitalist societies may come about as a result of spontaneous evolution as capitalism becomes obsolete. Others propose models to intentionally replace capitalism, most notably socialism, communism, anarchism, nationalism and degrowth.
Marxist aesthetics is a theory of aesthetics based on, or derived from, the theories of Karl Marx. It involves a dialectical and materialist, or dialectical materialist, approach to the application of Marxism to the cultural sphere, specifically areas related to taste such as art, beauty, and so forth. Marxists believe that economic and social conditions, and especially the class relations that derive from them, affect every aspect of an individual's life, from religious beliefs to legal systems to cultural frameworks. From one classic Marxist point of view, the role of art is not only to represent such conditions truthfully, but also to seek to improve them ; however, this is a contentious interpretation of the limited but significant writing by Marx and Engels on art and especially on aesthetics. For instance, Nikolay Chernyshevsky, who greatly influenced the art of the early Soviet Union, followed the secular humanism of Ludwig Feuerbach more than he followed Marx.
Social democracy is a political, social, and economic philosophy within socialism that supports political and economic democracy and a gradualist, reformist and democratic approach towards achieving socialism. In modern practice, social democracy has taken the form of predominantly capitalist economies, with the state regulating the economy in the form of welfare capitalism, economic interventionism, partial public ownership, a robust welfare state, policies promoting social equality, and a more equitable distribution of income.
Klaus Peter Brehmer, was a German painter, graphic artist and filmmaker. From 1971 to 1997 he was professor at the Hochschule für bildende Künste Hamburg.
A dystopia, also called a cacotopia or anti-utopia, is a community or society that is extremely bad or frightening. It is often treated as an antonym of utopia, a term that was coined by Sir Thomas More and figures as the title of his best known work, published in 1516, which created a blueprint for an ideal society with minimal crime, violence, and poverty. The relationship between utopia and dystopia is in actuality, not one of simple opposition, as many dystopias claim to be utopias and vice versa.
In media studies, interpassivity is the phenomenon whereby a piece of art or technology seems to act on the audience or user's behalf; it is the opposite of interactivity. The meaning of the term was interpreted mainly by Robert Pfaller in 1996, and was quickly taken up by Slavoj Žižek.
Capitalist propaganda is promotion of capitalism, often via mass media, education, or other institutions, primarily by the ruling private and political elite. According to critics of capitalism, capitalist propaganda is commonly deployed in capitalist countries to maintain the cultural hegemony of capitalism, by positioning it as the supreme and only valid system, eliminating opposing and dissenting views, and portraying non-capitalist perspectives and countries as comparatively incompetent and inferior, thus reinforcing capitalism as the dominant ideology.
Mark Fisher, also known under his blogging alias k-punk, was an English writer, music critic, political and cultural theorist, philosopher, and teacher based in the Department of Visual Cultures at Goldsmiths, University of London. He initially achieved acclaim for his blogging as k-punk in the early 2000s, and was known for his writing on radical politics, music, and popular culture.
Capitalist Realism: Is There No Alternative? is a 2009 book by British philosopher Mark Fisher. It explores Fisher's concept of "capitalist realism", which he describes as "the widespread sense that not only is capitalism the only viable political and economic system, but also that it is now impossible even to imagine a coherent alternative to it."
Collective Ink is a publishing company founded in the United Kingdom in 2001 under the name O Books. The publisher has 15 active imprints, the largest of which are Moon Books, O-Books and Zero Books. After changing ownership in 2021, in June 2023, John Hunt Publishing was renamed to Collective Ink.
It was a reaction to Pop from a postwar Germany divided between East and West.
In the 1960s, Mr. Polke was at the vanguard of a German artistic movement called capitalist realism, along with fellow painter Gerhard Richter -- who later expressed reservations about his colleague's work, saying "he refuses to accept any borders, any limits."