general research collected for
Term comes from Kathy Acker’s Blood & Guts in High School describing her role as a cashier at a bakery.
Things in this channel are connected to labor, "womens work", capitalism, the corporatization of art industry(NYFA jobs classifieds), artists/designers as workers, ASMRtists, youtube, office themed, work themed, lifestyle content creators (life as product) sex work, job entendre etc
You could call Christine Hill a “total entrepreneur.” Since the early 1990s, Hill’s ongoing artistic investigation into diverse professional models has led her to adopt varied roles—shopkeeper, tour guide, talk show host, writer, and rock singer, to name but a few—in apractice that collapses research and retail with collecting, exhibition-making, and production. “Volksboutique” (a play on the East German term for “people-owned companies”) is Hill’s all-encompassing moniker for her many activities. Starting as a second-hand-clothing-store-cum-social-sculpture in Berlin and later presented at Documenta X in 1997, Volksboutique now stages increasingly ambitious forays into public and institutional spaces, including shows such as “Hotel Volksboutique” (Galerie für zeitgenössische Kunst Leipzig, 2011); “Do It Yourself Bauhaus” (Martin Gropius Bau, Berlin, 2009); and “The Volksboutique Armory Apothecary” (solo presentation with Ronald Feldman Fine Arts, 2009 Armory Show). For the duration of Process 01: Joy, Hill will transform P! into a “remote office”: a hub from which to collect research on local small businesses that extends the activities of “The Volksboutique Small Business” in Berlin. Eclectic programming, including lectures by business owners, urban researchers, gentrification experts, and a closing event on 3 November 2012 with Hill herself in attendance, will initiate an ongoing dialogue between P! and its immediate local context.
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The art field is a space of wild contradiction and phenomenal exploitation. It is a place of power mongering, speculation, financial engineering, and massive and crooked manipulation. But it is also a site of commonality, movement, energy, and desire. In its best iterations it is a terrific cosmopolitan arena populated by mobile shock workers, itinerant salesmen of self, tech whiz kids, budget tricksters, supersonic translators, PhD interns, and other digital vagrants and day laborers. It’s hard-wired, thin-skinned, plastic-fantastic. It’s HDMI, CMYK, LGBT. Pretentious, flirtatious, mesmerizing.
This mess is kept afloat by the sheer dynamism of loads and loads of hardworking women. A hive of affective labor under close scrutiny and controlled by capital, woven tightly into its multiple contradictions.
Contemporary art is a brand name without a brand, ready to be slapped onto almost anything, a quick face-lift touting the new creative imperative for places in need of an extreme makeover, the suspense of gambling combined with the stern pleasures of upper-class boarding school education, a licensed playground for a world confused and collapsed by dizzying deregulation. If contemporary art is the answer, the question is: How can capitalism be made more beautiful?