Search results

1 – 2 of 2
To view the access options for this content please click here
Article
Publication date: 11 July 2016

Hugo Letiche

Commodification doubles self and work, life and object, uniqueness and standardization and art and management. For the artist, the unicity, beauty, inspiration and…

Abstract

Purpose

Commodification doubles self and work, life and object, uniqueness and standardization and art and management. For the artist, the unicity, beauty, inspiration and creativity of art is doubled in the sale, marketing, display, distribution and mass production of “art works”. Making art is intimate, personal and individual; selling art requires public display, pleasing the all important customer(s) and dealing with many sorts of in-betweens. What commodification is on the artist/art work level is doubling on the I/me, self/persona, private/public and in-group/out-group level. This paper aims to examine the commodification and doubling in the case of the Gee’s Bend quilt makers. The quilts foreshadowed the modernist aesthetic and are of the highest aesthetic quality. But, they were made in a traditional rural society by very poor, uneducated black women. The quilts were not made to be sold but were dedicated to familial remembrance and to immediate aesthetic pleasure. But now that they are on display: is escape from commodification possible?

Design/methodology/approach

Reprint for special issue.

Findings

Doubling, in the original article below, was tendentious but artistically and politically to be overcome; doubling currently seems much more ominous, omnipresent and out of control. Signifyin(g) has become bomb throwing. Present day doubling apparently produces terror and not just commodification.

Originality/value

Invited for publication.

Details

Society and Business Review, vol. 11 no. 2
Type: Research Article
ISSN: 1746-5680

Keywords

To view the access options for this content please click here
Article
Publication date: 6 February 2009

Hugo Letiche

The purpose of this paper is to pursue the themes of feminine identity, doubling and (in)visibility; first in terms of “signifyin(g)” as a cultural and literary strategy…

Abstract

Purpose

The purpose of this paper is to pursue the themes of feminine identity, doubling and (in)visibility; first in terms of “signifyin(g)” as a cultural and literary strategy, and second, in terms of quilting seen from the fiction of Alice Walker to the quilting of Gee's Bend. In the background, there plays the relationship between art and commodification.

Design/methodology/approach

The paper examines “commodification” and “doubling” in the case of the Gee's Bend quilt makers. The quilts foreshadow the modernist aesthetic and are of the highest aesthetic quality. They were made in a traditional rural society by very poor uneducated black women. The quilts were not made to be sold, but were dedicated to familial remembrance and to immediate aesthetic pleasure.

Findings

Commodification doubles self and work, life and object, uniqueness and standardization, art and management. For the artist, the unicity, beauty, inspiration and creativity of art is doubled in the sale, marketing, display, distribution and mass production of “art works.” Making art is intimate, personal and individual; selling art requires public display, pleasing the all‐important customer(s) and dealing with many sorts of in‐betweens. What “commodification” is on the artist/art work level, is “doubling” on the I/me, self/persona, private/public, and in‐group/out‐group level.

Originality/value

The author proposes, from the example of quilt‐making, a wide‐ranging interrogation: “Is escape from commodification possible?”

Details

Society and Business Review, vol. 4 no. 1
Type: Research Article
ISSN: 1746-5680

Keywords

1 – 2 of 2