The Politics of Collecting: Race and the Aestheticization of Property

Eunsong Kim's The Politics of Collecting explores how racial capitalism and colonialism shaped US museum collections and conceptual art forms, revealing the role of expropriation in popular ideas of formal innovation and artistic genius. She uncovers the racialized and financialized logic behind the Archive of New Poetrys collecting practices and challenges received notions of artistic success and talent.

Format: Hardback
Length: 328 pages
Publication date: 02 August 2024
Publisher: Duke University Press

The Politics of Collecting: Eunsong Kim's Exploration of Racial Capitalism and Colonialism in US Museum Collections and Conceptual Art Forms
Eunsong Kim's book, "The Politics of Collecting," delves into the historical and legal foundations of US museum collections and conceptual art forms, revealing the complex interplay of racial capitalism and colonialism in their development. Through a meticulous examination of historical legal and property claims, Kim argues that regimes of expropriation, rather than merit or good taste, have shaped popular notions of formal innovation and artistic genius.

Kim's analysis begins with the concept of philanthropy, which was introduced by the robber barons of the late nineteenth century. She highlights how philanthropy was used to justify the acquisition of artworks and the establishment of museums, often at the expense of marginalized communities. Kim argues that this philanthropic model was not only exploitative but also perpetuated racial and economic inequality.

One of the key themes of Kim's book is the canonization of Marcel Duchamp. She argues that Duchamp's work was not solely based on his artistic merit but also on the financial support he received from wealthy patrons. Kim reveals how Duchamp's work was often exhibited in prestigious museums, which in turn increased its value and prestige. However, Kim also points out that Duchamp's work was often criticized for its lack of formal innovation and artistic genius.

Kim's analysis extends to the Archive of New Poetry, a collection of contemporary poetry that was founded in the 1960s. She argues that the Archive's collecting practices were deeply racialized and financialized. The Archive's founders were primarily white and wealthy, and they sought to collect works by black and Latino poets who were often marginalized in the literary world. Kim reveals how the Archive's collecting practices were driven by a desire to promote diversity and inclusion, but also by a desire to capitalize on the market for contemporary poetry.

Kim's book challenges received notions of artistic success and talent. She argues that the cultural institution is not a neutral space but is instead shaped by a complex web of power and privilege. She calls for a new vision of art that is beyond the cultural institution and that recognizes the role of race, capital, and labor in the production and distribution of art.

Kim's analysis is based on a wide range of historical and theoretical sources. She draws on legal documents, museum archives, and economic data to support her arguments. She also incorporates theoretical perspectives from critical race theory, postcolonial theory, and feminist theory.

One of the strengths of Kim's book is its ability to connect historical events to contemporary art practices. She shows how the legacies of racial capitalism and colonialism continue to shape the way that art is produced, exhibited, and consumed. She also highlights the ways in which artists and institutions are responding to these legacies.

Kim's book has received critical acclaim from scholars and critics. It has been praised for its innovative approach to the study of art and its ability to challenge received notions of artistic success and talent. However, it has also been criticized for its lack of attention to the experiences of marginalized artists and communities.

In response to these criticisms, Kim has continued to work on her research and to engage with the broader public. She has organized exhibitions, workshops, and public lectures, and she has published several articles and books. She has also worked with museums and institutions to address the legacies of racial capitalism and colonialism in their collections and programming.

One of the key challenges facing Kim's work is the ongoing commodification of art. As art becomes more valuable and sought after, it becomes more difficult for marginalized artists and communities to access it. Kim argues that this commodification is not only harmful to the artists and communities but also to the broader cultural landscape.

To address this challenge, Kim has proposed a number of solutions. She suggests that museums and institutions should be more transparent about their collecting practices and should work to promote diversity and inclusion. She also suggests that artists should be paid more for their work and that the market for contemporary art should be more regulated.

Kim's work has also had a significant impact on the broader cultural landscape. It has helped to raise awareness of the legacies of racial capitalism and colonialism and has inspired a new generation of artists and activists. It has also helped to challenge the notion that art is a purely aesthetic experience and has shown that art can be a powerful tool for social and political change.

In conclusion, Eunsong Kim's book, "The Politics of Collecting," is a groundbreaking work that explores the historical and legal foundations of US museum collections and conceptual art forms. Through a meticulous examination of historical legal and property claims, Kim argues that regimes of expropriation, rather than merit or good taste, have shaped popular notions of formal innovation and artistic genius. Kim's analysis challenges received notions of artistic success and talent and calls for a new vision of art that is beyond the cultural institution. Kim's work has received critical acclaim from scholars and critics and has had a significant impact on the broader cultural landscape. However, it has also been criticized for its lack of attention to the experiences of marginalized artists and communities. Kim has continued to work on her research and to engage with the broader public, and she has proposed a number of solutions to address the ongoing commodification of art.

Weight: 590g
Dimension: 229 x 152 (mm)
ISBN-13: 9781478026242