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Artâ€™s Properties

By (author) David Joselit

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A revisionist reading of modern art that examines how artworks are captured as property to legitimize power In this provocative new account, David Joselit shows how art from the nineteenth to the twenty-first centuries began to function as a commodity, while the qualities of the artist, nation, or period themselves became valuable properties. Joselit explores repatriation, explaining that this is not just a contemporary conflict between the Global South and Euro-American museums, noting that the Louvre, the first modern museum, was built on looted works and faced demands for restitution and repatriation early in its history. Joselit argues that the property values of white supremacy underlie the ideology of possessive individualism animating modern art, and he considers issues of identity and proprietary authorship. Joselit redefines artâ€™s politics, arguing that these pertain not to an artworkâ€™s content or form but to the way it is â€œcaptured,â€ made to represent powerful interestsâ€”whether a nation, a government, or a celebrity artist collected by oligarchs. Artworks themselves are not political but occupy at once the here and now and an â€œelsewhereâ€â€”an alterityâ€”that canâ€™t ever be fully appropriated. The history of modern art, Joselit asserts, is the history of transforming this alterity into private property. Narrating scenes from the emergence and capture of modern artâ€”touching on a range of topics that include the Byzantine church, French copyright law, the 1900 Paris Exposition, W.E.B. Du Bois, the conceptual artist Adrian Piper, and the controversy over Dana Schutzâ€™s painting Open Casketâ€”Joselit argues that the meaning of art is its infinite capacity to generate experience over time.

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