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submitted 1 day ago* (last edited 1 day ago) by lurker_supreme@hexbear.net to c/art@hexbear.net

But why? I was reading a fairly vacuous art history book and they drop all this knowledge and then do 0 analysis of it. Feels like they're saying "teehee, ain't it so quirky?" Their best guess was to counter Socialist Realism and to promote the US as an art powerhouse, a vision of artistic freedom!!! Is that the materialist interpretation?

E: Thanks for all the thoughtful responses. Genuinely. When I write that it sounds corporate, but I mean it

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[-] Kieselguhr@hexbear.net 4 points 1 day ago* (last edited 1 day ago)

far from it. again, no one is saying that rothko or carver or the majority of us cold war era artists were willing propagandists, but the structural support for their work was part of a larger project to "professionalize" artists -- plugging them into various awards, foundations, grants, and universities -- so that only acceptable "transgressions" against bourgeois norms could be maintained and fostered. it's a system that exists even now. i really don't see how it's that controversial a take.

yeah sure sure, but you see this above is a much more general and nebulous claim than

the aesthetic priorities [at the Iowa Workshop] were to center individualist "unknowability" and examination, which re-affirms capitalists' need for people to be atomized units.

This is just vulgar Marxism

Remember that Marx admired Balzac...

Funnily enough between my first comment and this one, I was reading a book, and this page specifically, funny coincidence:

We have seen that in proper structuralist procedure, the economic determinism professed by Marxism is unacceptable, since it affirms a direct causal link between the content of the discourse and the reality of its enunciation, neglecting the specific role of the code. Take any novel; for orthodox Marxism it will reproduce either the ideology of the ruling class or that of the oppressed class. For structuralism such a view is premature, to say the least, for the novel originates primarily in the code of novelistic discourse, and not in the author's social awareness. It is only secondarily as the analysis progresses, a structural correspondence may perhaps be established between the novelistic code as a whole (but not this or that particular novel) and the relation of subordination which, of all the relations possible in one group's power over another, defines the rule of the bourgeoisie. Should this hypothesis of a relation between novelistic code and bourgeois domination be verified, then the 'progressive' novels would not be those whose content refers to the experiences of the workers ('popular literature', 'socialist realism'), but those which in one way or another transgress the code of the ruling class. The exemplary modern writer will then be Joyce or Mallarmé, not Zola or Aragon.

  • Descombes - Modern French Philosophy

I like Raymond Williams more than the structuralists, but he's no vulgar Marxist either.

[-] rufuscrispo@hexbear.net 3 points 23 hours ago

i agree with you if we are assessing the writing produced by the workshop model, but the critique here is how and why mfa programs were created, not necessarily how successful these programs were (or are) at producing the work their originators believed important. and forgive me, i'm mostly cribbing from workshops of empire, which lays out a pretty convincing case (with documentation to back it up) on which styles and aesthetics universities were to encourage (by way of syllabi, readings, students, etc.) and which were sidelined.

[-] Kieselguhr@hexbear.net 1 points 21 hours ago

i agree with you if we are assessing the writing produced by the workshop model, but the critique here is how and why mfa programs were created, not necessarily how successful these programs were (or are) at producing the work their originators believed important. and forgive me, i'm mostly cribbing from workshops of empire, which lays out a pretty convincing case (with documentation to back it up) on which styles and aesthetics universities were to encourage (by way of syllabi, readings, students, etc.) and which were sidelined.

The first comment was explicitly about "aesthetic priorities" btw, so this is taking a turn, but we are converging

Yeah workshops of empire is pretty convincing provided you don't think about it too much. I think our main disagreement is the claims of this book.

If we overemphasise grants instead of the artworks, then we don't really need hermeneutics and criticism, only bookkeeping and financial statements...

Overemphasising syllabi versus the actual artistic production of the teachers and the alumni is similarly misguided. Purpose of the system is what it does..did Iowa churn out vacuous "realism" promoting wide-eyed liberal humanism?

Yeah the grants themselves might have been pointed, but Iowa teachers and alumni don’t fit that simplification. The people who were leading the program like Engle and Cassil, might have been opportunistic in applying for all kinds of grants, but their aesthetic was a kind of Flaubertian Chekhovian realism, which was already dominant among highbrow literary types all around the west, even the Eastern bloc. Now you can say that's bourgeois, but then you also think about teachers and alumni, especially the actual novels produced, say between 1960 and 1980 and then it will be obvious that it's an oversimplification

When someone writes a book like Workshops of Empire they need to make the case as forceful and pointed as possible (for a variety of reasons), but the result is often flattens the landscape. But completely agree that institution like MFA programs need proper historical materialist evaluation.

Workshops of Empire is interesting just don't take it too seriously, it's one of those books that will be an interesting footnote in a literary history 30-40 years from now

this post was submitted on 04 Feb 2026
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