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Art and money: Three aesthetic strategies in an age of financialisation

Published online by Cambridge University Press:  09 November 2023

Max Haiven
Max Haiven*
Affiliation:
Nova Scotia College of Art and Design, Canada
*
Corresponding author: Max Haiven, Nova Scotia College of Art and Design, 5163 Duke Street, Halifax, NS B3J 3J6, Canada. Email: [email protected]
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Abstract

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Recent decades of financialisation have seen a significant growth in art that mobilises various forms of money as artistic media. These range from the integration of material money (coins, bills, credit cards) into aesthetic processes, such as sculpture, painting, performance, and so on, to a preoccupation with more ephemeral thematics including debt, economics, and the dynamics of the art market. This article explores three (and a half) strategies that artists use to engage with money: crass opportunism; a stark revelation of money's power; a coy play with art's subjugation to money; and a more profound attempt to reveal the shared labour at the heart of both money and art's aesthetic-political power. Money's perennial appeal to artists stems from the irony of its tantalising capacity to almost represent capitalist totality. At their core, both money and art are animated by a certain creative labour, a suspension of disbelief, and a politics of representation. Artistic practices that use money can provide critical resources for studying, understanding, and seeing beyond the rule of speculative capital.

Keywords

Moneyartrepresentationmediationaesthetic strategyfinancialisation
Type
Article
Information
Finance and Society , Volume 1 , Issue 1: Hard cash , 2015 , pp. 38 - 60
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Creative Common License - CCCreative Common License - BYCreative Common License - NCCreative Common License - ND
This is an Open Access article, distributed under the terms of the Creative Commons Attribution-NonCommercial-No Derivatives licence (http://creativecommons.org/licenses/by-nc-nd/4.0/), which permits noncommercial re-use, distribution, and reproduction in any medium, provided the original work is unaltered and is properly cited. The written permission of Cambridge University Press must be obtained for commercial re-use or in order to create a derivative work.
Copyright
© 2015 The Author(s)

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