Gregory Sholette

  • Culture Corps

    Whirling kinetic sculptures, heaps of rough timber, spills of cast concrete, coiling bands of telex paper spewing raw news feed: How did artists making decisively nonrepresentational art in the 1960s and ’70s reconcile such work with their claim to be acting politically, in consort with civil rights activists, striking workers, and militant antiwar protesters? According to Julia Bryan-Wilson’s smart new study, Art Workers, the answer is to be found in the frequently vexed identification many artists sought to establish with nonartistic forms of labor. The primary crucibles for this desired