Marx's Fetishism and the Death of Painting: Reflecting on My Art Practice Through the Lens of Rodchenko

 

Marx's Fetishism and the Death of Painting: Reflecting on My Art Practice Through the Lens of Rodchenko

 

Examining my artistic practice through Marx's theory of fetishism helps me understand its implications. Marx's concept of fetishism, which originated from the belief that inanimate objects, such as totems, could possess some sort of "divine powers," evolved into his notion of "commodity fetishism." This evolution is a fascinating journey in which Marx argues that "the commodity remains simple as long as it is tied to its use-value" (Felluga, 2019). This exploration will examine how the value of art becomes disconnected from its material reality. It will draw connections to the work of Alexandr Rodchenko and the broader context of the "death of painting" in the art world. Furthermore, it will explore how my work either aligns with or challenges the concept of fetishistic value in art.

 

Marx's Fetishism of Commodities and its Relevance to Art

 

Using Marx's concept of fetishism, we can see how commodities acquire a value that is disconnected from the labour that produced them, leading to a mystification of their worth (Felluga, 2019b). In a capitalist society, art can become fetishized as well. However, it is important to remember that the artist's labour and intent and the material reality of the artwork are crucial in the creation of art. They should not take a back seat to its perceived market value and status as a commodity. This theory is closely related to the power dynamics inherent in capitalism, which exert control over the artist. This level of control significantly alters the nature of the artwork and how it is presented. Furthermore, Rex Dunn (2016) describes Marxist theory as an, "Aesthetic structure that is indispensable to the work of art. This is achieved through the unity of form and content."

This perspective suggests art is aesthetic labour, a force that can challenge the status quo. It raises important questions about why we should create art for the accumulation of capital. Viewing art through the lens of aesthetics as resistance reveals two key areas of discipline and conflict. Steyerl (2010, p. 2) noted that 'artistic research seems more or less confined to the contemporary metropolitan art academy.’ This observation, along with Marx's perspective on art for capital, raises important questions about how the modern art world often overlooks the global history of art research and struggles for emancipation.

Upon reflecting on my work, I realize that my pieces challenge Marxist theory and critique it. My artistic practice is grounded in my emotions and a desire to connect with people. The goal is not to create under the influence of power or greed but to engage with the concept of 'space' and our own personal thoughts. For example, I desire to explore what resonates with me rather than being confined by the supposed confinements.

Wide spread bat 2/2, cyanotype, a5, 2024

The Death of Painting: Conceptual Art, Commodification, and the Changing Role of the Artist

 

 

In discussing Marx's concept of fetishism, a key artist is Alexsandr Rodchenko, who rejected traditional painting in favour of photography, sculpture, and design. There is a radical shift in artistic practices exemplified by the work of Alexandr Rodchenko and the broader discourse surrounding the "death of painting" in art. This concept suggests a loss of traditional value and meaning in the face of emerging artistic practices and forms. He believed that art should serve a social and functional purpose rather than be confined to conventional 'artistic' roles. This belief can be summarized as his commitment to the values of the Revolution (The Art Story, 2012), which prompted him to abandon painting in 1921.

 

Additionally, Rodchenko adopted a more functional perspective on art and the role of the artist. Rodchenko's famous statement, 'I am not a painter,' marks a pivotal moment in rejecting the fetishization of painting as an elite form of artistic expression; Rodchenko almost invents complex investigation procedures. This shift in the artist's role, from a creator of elite art to a designer of functional and socially relevant pieces, is a key aspect of Rodchenko's legacy that continues to influence contemporary art practice.

 

When discussing the 'hands-on' approach to the epistemological shift, Iritt Rogoff (2000, p.26) states, 'In doing this, we have affected a shift from the old logical-positivist world of cognition to a more contemporary arena of representation and situated knowledges.' This idea combines scientific inquiry with artistic expression to serve a specific purpose. The decline of painting, a significant shift in the art world, marks a historical shift from the dominant medium to the rise of conceptual art, installation, and other forms of artistic expression. These new forms of art emphasize ideas over materiality, challenging the traditional view of art as a physical object. This change coincided with the emergence of the art market, where artworks increasingly gained fetishistic value, becoming the artist's original intent or labour. Rodchenko  himself states, 'The art of the future will not be cosy decorations for domestic apartments.' (The Art Story, 2012b). The artist does not want art to become an object of desire; instead, he wants it to serve a purpose, almost like propaganda.

 

Does my practice focus on the dematerialization of the art object, or does it critique the idea of painting as a fetishized commodity? It does not challenge the traditional value of painting as a commodity. However, as Rodchenko suggested, I can incorporate the ideas of function, design, or utility within art through research and learning new skills. Creating art that challenges and serves a purpose outside my comfort zone as a painter is important, such as my current project about the weight discrimination one experiences at the GP. It is crucial to constantly question and challenge traditional values in art, as this is how we can push the boundaries and evolve as artists.

Diet pills, lino, A4, 2025

The theories of Marx's fetishism, Rodchenko's legacy, and the painting's death contribute towards shaping my understanding of contemporary art practice. The insights gained from art history inform my research and inspire me to draw from the past as I develop my artistic future. Although I do not typically agree with Marx's ideals regarding art for capital, their influence is still evident in modern contemporary art. Rodchenko's principles can also be observed in today's art, and these ideas will continue to resonate as past artists and theorists lay the foundation for the art we create.

 

 

 

Reference list

Dunn, R., Granger, Z. and Osbourne, P. (2016). The Platypus Affiliated Society – Art and the Commodity Form. [online] platypus1917.org. Available at: https://platypus1917.org/2016/12/21/art-commodity-form-3/.

Felluga, D. (2019a). Introduction to Karl Marx, Module on Fetishism. [online] Purdue.edu. Available at: https://www.cla.purdue.edu/academic/english/theory/marxism/modules/marxfetishism.html [Accessed 25 Jan. 2025].

Felluga, D. (2019b). Introduction to Karl Marx, Module on Fetishism. [online] Purdue.edu. Available at: https://www.cla.purdue.edu/academic/english/theory/marxism/modules/marxfetishism.html [Accessed 3 Feb. 2025].

Garrido, C. (2022). What Is the Fetishism of Commodities? [online] Hampton Institute. Available at: https://www.hamptonthink.org/read/what-is-the-fetishism-of-commodities [Accessed 25 Jan. 2025].

Irit Rogoff (2000). Terra infirma : geography’s visual culture. New York: Routledge, p.26.

Selim Omarovich Khan-Magomedov (1987). Rodchenko. MIT Press (MA).

steyerl, hito (2010). ‘Aesthetics of Resistance? Artistic Research as Discipline and Conflict’. MaHKUzine: Journal of Artistic Research, [online] p.2. Available at: https://transversal.at/pdf/journal-text/270/ [Accessed 25 Jan. 2025].

The Art Story (2012a). Alexander Rodchenko. [online] The Art Story. Available at: https://www.theartstory.org/artist/rodchenko-alexander/ [Accessed 26 Jan. 2025].

The Art Story (2012b). Alexander Rodchenko. [online] The Art Story. Available at: https://www.theartstory.org/artist/rodchenko-alexander/ [Accessed 27 Jan. 2025].