the past week or so I’ve been working out what exactly it is I’m trying to do. as an artist, as a person, as a wage laborer who probably needs more money. this last one’s come back to the fore, after many months of not looking for a new job, because my boss is leaving for a new position on the other side of the country. this was expected, because he’s an ambitious go getter with lots of big ideas, and the library system I work for is dysfunctional, mired in inertia, and woefully underfunded. what I didn’t expect was him telling me, after breaking the news, that I should apply for his position, and that people in the administration seem interested in me taking the job. am I interested in it? if I’m going to be at this library, I don’t really want someone else to be my boss. and if I want to move somewhere else for a library job, it would help to have “city librarian” on my resume, to make me a more attractive candidate or whatever corpo-bureau-careerist bullshit phrase it is.
what I’m actually interested in is having less job, not more. because I’m trying to determine where to place my ambitions, because, contra the slacker in me, I am an ambitious person. does that mean being ambitious in my career? library work is pretty much the only field where I feel I could be ambitious without sacrificing too much of my soul. sacrificing some of it, to be sure, but if there’s one field of democratic spirit left in America, it’s in libraries. however, while I have a knack for public library work (not that it’s hard, though of course if I have a “knack” for it I wouldn’t think it’s hard, so idk), I just can’t seem to get excited about any aspect of it, maybe because it’s still ultimately wage labor, maybe because I have artistic ambitions I can’t shake, maybe because I want to be a layabout and I resent any sort of external obligation. probably all three in varying proportions.
the question then is, what does it mean to have artistic ambitions in America in 2024? the outlook for life as an artist has never looked so grim. the options are abject poverty without any social safety net, a series of compromises in service of becoming a cog in the culture industry (compromises that are increasingly detrimental to the ability to hold onto a sense of individuality and originality, given the dire state of publishing, the music industry, the film industry, etc.), or totally selling out and approaching the prospect of being a “creative” as cravenly and psychopathically as possible. the middle path is the one most people with any measure of success (“success”) try to walk, and I don’t mean to cast (many) aspersions on anyone with the desire to see their book published by a big 5 publisher. but the demands placed on artists hoping for traditional forms of “success”—self-promotion, constant hustling, little support from institutions supposedly “backing” you, poor financial prospects—amidst the meat grinder of the “attention economy” seems to have stripped away the faculties in artists that are necessary to create truly countercultural, visionary, strident, original work. there are some artists, none of wide renown, creating nowadays whom I respect, but even them….when was the last time it felt like an artist under 45 really fuckin went for it, made a genuine stab at the heart of life, with an eye to the complexity of the modern world, and landed a critical blow? maybe I’m not reading enough contemporary work, but I also don’t read much contemporary work because I sense a failure of nerve among artists nowadays.
all of which is by way of thinking through what I want from the artistic life. I’m developing these ideas more rigorously (and artfully) elsewhere, so be on the lookout, but one upshot I’m trying to internalize is that I need to take art making a seriously as possible, while all but abandoning any hope of being “famous.” “fame” once meant achieving a certain level of recognition from the world that bolsters the possibility of the work reverberating through posterity, but now, “fame” mostly means earning the fickle support of a system that runs entirely on the evaluation of things in the most vulgar terms, those of the market. (adorno argued that this was true even in the 19th century, with “posterity” being a product mostly of the proto-advertising efforts of publishers, but we can’t discount the fact that the already debased workings of the culture industry have become so endemic as to threaten the very possibility of something like “culture” with meaning outside its worth to shareholders).
i’m not articulating this well, and i sometimes think i need to be more “dialectical” in my thinking, more specific in my examples, and more ranging in my scope. but this is my blog, so whatever. the point is, what I care about is making good art, uncompromisingly; using art as means of approaching the Sublime, of examining the conditions of reality, of figuring out “how to live a moral life a culture of death” (Charles Bowden). which is almost directly opposed to the idea of being “discovered” by the culture industry.
that leads me back around to needing to make money in a way that best supports this attitude towards making art. (also developing a certain discipline, but that’s a discussion separate from this one). whether that means taking on more responsibilities for slightly more money and something on my resume that might lead to work in a more interesting city…idk. when i put it that way…