By describing this particular assemblage of visual forms, color and content as “corporate,” we drew a line around it, enclosing the “corporateness” within recognizable boundaries. In doing so, we felt reassured that as long as our work does not look like that, as long as we do not work for Big Tech, we are safe from “corporateness” and neoliberalism. But if I make watercolor paintings for The New Yorker (i.e., Condé Nast), am I less of a “corporate” artist? If I create pencil drawings for Starbucks, do I participate less in capitalism? Reducing these complex systems into a single style is certainly naive, and self-righteously judging our peers only exacerbates the issue.
Author Toni Morrison on how to get better at writing—or anything, really:
"I thought of myself as like the jazz musician: someone who practices and practices and practices in order to be able to invent and to make his art look effortless and graceful. I was always conscious of the constructed aspect of the writing process, and that art appears natural and elegant only as a result of constant practice and awareness of its formal structures."