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Still Life with a Skull and a Writing Quill, Pieter Claesz, 1628, Oil on Wood, 24.4 x 35.9cm

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To establish how still life and objects have traditionally been used in art history

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Starting from a very wide search of still life genre on JSTOR

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Starting from a very wide search of still life genre on JSTOR

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My main focus here being to research how dutch still life paintings visually depicted wealth and commodities

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First Source: Making Sense of Things: On the Motives of Dutch Still Life

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First Source: Making Sense of Things: On the Motives of Dutch Still Life

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Honig, E. A. (1998). Making Sense of Things: On the Motives of Dutch Still Life. RES: Anthropology and Aesthetics, 34, 166–183. http://www.jstor.org/stable/20140414

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Honig, E. A. (1998). Making Sense of Things: On the Motives of Dutch Still Life. RES: Anthropology and Aesthetics, 34, 166–183. http://www.jstor.org/stable/20140414

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The Dutch Republic was a mercantilist and protocapitalist culture in which commodities played an immense role in the cultural consciousness. Its lived world was filled with material goods to an unprecedented extent, and the interest of these objects lay in their status as commodities. The goal of a broad spectrum of society was to acquire and possess luxury objects by means of commercial exchange. These objects then functioned as symbols of wealth and status, while imported wares from distant cultures added a resonance of imperial mastery to the Dutch world of goods. pg.168

Honig, E. A. (1998). Making Sense of Things: On the Motives of Dutch Still Life. RES: Anthropology and Aesthetics, 34, 166–183. http://www.jstor.org/stable/20140414

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Meanwhile, painters had begun producing their works as market commodities, that is, as things of economic worth to be exchanged on the open market.

They seized upon the unique valuation of objects in their culture as part of their own project: hence, still life.

Honig, E. A. (1998). Making Sense of Things: On the Motives of Dutch Still Life. RES: Anthropology and Aesthetics, 34, 166–183. http://www.jstor.org/stable/20140414

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To round out this explanation of still life, it would also be important to note that the Dutch were the inheritors of the Van Eyckian artistic tradition, with its strong commitment to the descriptive rendering of individual things. Thus a certain value in artistic practice preceded a society's obsession with material objects and made visual art the natural site of its discourse.

Honig, E. A. (1998). Making Sense of Things: On the Motives of Dutch Still Life. RES: Anthropology and Aesthetics, 34, 166–183. http://www.jstor.org/stable/20140414

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Didn't realise Van Eyckian is a family not just one artist 

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Didn't realise Van Eyckian is a family not just one artist 

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Jan van Eyck, Portrait of a Man in a Red Turban (Self-Portrait?), 1433

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Looking past symbolism: meaning and Dutch still life

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A New Look at a Seventeenth-Century Dutch Still Life - Not too helpful of a document will not use but read through 

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A New Look at a Seventeenth-Century Dutch Still Life - Not too helpful of a document will not use but read through 

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Mahon, D. (1993). A New Look at a Seventeenth-Century Dutch Still Life. The Metropolitan Museum of Art Bulletin, 51(3), 32–37. https://doi.org/10.2307/3258775

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Hochstrasser, J. B. (2000). Imag(in)ing prosperity: Painting and material culture in the 17th-century Dutch household. Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art, 51, 194–235. http://www.jstor.org/stable/24706497

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Thought the graph of genres over time was interesting 

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Thought the graph of genres over time was interesting 

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Hochstrasser, J. B. (2000). Imag(in)ing prosperity: Painting and material culture in the 17th-century Dutch household. Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art, 51, 194–235. http://www.jstor.org/stable/24706497

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The source mentions an archived New York Times article in which I thought to search, very interesting. 

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https://archive.nytimes.com/www.nytimes.com/library/magazine/home/20000319invisible-poor.3.html

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Interesting quote on how we view painting while painting 

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Interesting quote on how we view painting while painting 

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Tokumitsu, M. (2016). The Currencies of Naturalism in Dutch “Pronk” Still-Life Painting: Luxury, Craft, Envisioned Affluence. RACAR: Revue d’art Canadienne / Canadian Art Review, 41(2), 30–43. http://www.jstor.org/stable/44011805

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This quote encapsulates it well that in still life we are painting wealth but then the painting itself also then becomes a commodity 

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This quote encapsulates it well that in still life we are painting wealth but then the painting itself also then becomes a commodity 

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Tokumitsu, M. (2016). The Currencies of Naturalism in Dutch “Pronk” Still-Life Painting: Luxury, Craft, Envisioned Affluence. RACAR: Revue d’art Canadienne / Canadian Art Review, 41(2), 30–43. http://www.jstor.org/stable/44011805

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How the paintings themselves are objects to be sold

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How the paintings themselves are objects to be sold

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Tokumitsu, M. (2016). The Currencies of Naturalism in Dutch “Pronk” Still-Life Painting: Luxury, Craft, Envisioned Affluence. RACAR: Revue d’art Canadienne / Canadian Art Review, 41(2), 30–43. http://www.jstor.org/stable/44011805

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Tokumitsu, M. (2016). The Currencies of Naturalism in Dutch “Pronk” Still-Life Painting: Luxury, Craft, Envisioned Affluence. RACAR: Revue d’art Canadienne / Canadian Art Review, 41(2), 30–43. http://www.jstor.org/stable/44011805

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Tokumitsu, M. (2016). The Currencies of Naturalism in Dutch “Pronk” Still-Life Painting: Luxury, Craft, Envisioned Affluence. RACAR: Revue d’art Canadienne / Canadian Art Review, 41(2), 30–43. http://www.jstor.org/stable/44011805

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Tokumitsu, M. (2016). The Currencies of Naturalism in Dutch “Pronk” Still-Life Painting: Luxury, Craft, Envisioned Affluence. RACAR: Revue d’art Canadienne / Canadian Art Review, 41(2), 30–43. http://www.jstor.org/stable/44011805

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This text mentions Hal Foster, Norman Bryson, and Joanna Woodall: might look up and see if they will have any relevance to my essay

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This text mentions Hal Foster, Norman Bryson, and Joanna Woodall: might look up and see if they will have any relevance to my essay

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Tokumitsu, M. (2016). The Currencies of Naturalism in Dutch “Pronk” Still-Life Painting: Luxury, Craft, Envisioned Affluence. RACAR: Revue d’art Canadienne / Canadian Art Review, 41(2), 30–43. http://www.jstor.org/stable/44011805

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GREAT SOURCE: The Currencies of Naturalism in Dutch "Pronk" Still-Life Painting: Luxury, Craft, Envisioned Affluence

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GREAT SOURCE: The Currencies of Naturalism in Dutch "Pronk" Still-Life Painting: Luxury, Craft, Envisioned Affluence

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Looked up Norman Bryson from before and found a book by him 

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Looked up Norman Bryson from before and found a book by him 

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In this, the only up-to-date critical work on still life painting in any language, Norman Bryson analyzes the origins, history and logic of still life, one of the most enduring forms of Western painting. The first essay is devoted to Roman wall-painting while in the second the author surveys a major segment in the history of still life, from seventeenth-century Spanish painting to Cubism. The third essay tackles the controversial field of seventeenth-century Dutch still life. Bryson concludes in the final essay that the persisting tendency to downgrade the genre of still life is profoundly rooted in the historical oppression of women. In Looking at the Overlooked, Norman Bryson is at his most brilliant. These superbly written essays will stimulate us to look at the entire tradition of still life with new and critical eyes.

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Norman Bryson, Looking at the Overlooked: Four Essays on Still Life Painting (1990)

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Bryson explains how still life has often been deemed as a "lower" genre, often dismissed in the hierarchy of art

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Bryson explains how still life has often been deemed as a "lower" genre, often dismissed in the hierarchy of art

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How objects have innate histories planted in them

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How objects have innate histories planted in them

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Searched up Joanna Woodall, her work leaned to much on data analysis, not what I was looking for

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Searched up Joanna Woodall, her work leaned to much on data analysis, not what I was looking for

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Seaman, N & Woodall, J 2022, Money Matters in European Artworks and Literature, c. 1400-1750 1st edn J Woodall & N Seaman (eds), Amsterdam University Press, Amsterdam.

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Searched up Hal Foster too and he had some interesting observations but the text is too focused on modernism which isn't my main focus so just not the right fit for the essay but liked his writing

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Searched up Hal Foster too and he had some interesting observations but the text is too focused on modernism which isn't my main focus so just not the right fit for the essay but liked his writing

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Foster, H. (1985). The “Primitive” Unconscious of Modern Art. October, 34, 45–70. https://doi.org/10.2307/778488

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Another Hal Foster that I read that wasn't related 

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Another Hal Foster that I read that wasn't related 

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Hammer-Tugendhat, D. (2015). The visible and the invisible : On seventeenth-century dutch painting. Walter de Gruyter GmbH.

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Hammer-Tugendhat, D. (2015). The visible and the invisible : On seventeenth-century dutch painting. Walter de Gruyter GmbH.

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Art has the ability to make the invisible visible. It also has the power to render certain things, people, views or ideas invisible, to omit them from the field of representation and thus delete them from our consciousness. Dutch painting has been viewed, and to some extent is still viewed, as a paradigm of art aimed at creating a mimetic depiction of natural or social reality and describing optical phenomena. My endeavor to examine the meaning of invisibility in what is believed to be the epitome of naturalistic painting is thus of particularly high significance.
Hammer-Tugendhat, Daniela. The Visible and the Invisible : On Seventeenth-Century Dutch Painting, Walter de Gruyter GmbH, 2015. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uow/detail.action?docID=2028775.
Created from uow on 2025-09-16 03:30:10.

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The notion that pictures created between the Renaissance and Modernity (at least intend to) reproduce the reality we see has been maintained to this day. Supposedly it was not until the Avant-garde that painting as mimesis finally came to an end. This prejudice is particularly persistent in regard to 17th century Dutch painting. In fact, however, Dutch painting was not only concerned with the visualization of optical phenomena, but also dealt with the depiction of invisible ones. Dutch painters used painting as a medium to reflect its own status and relationship to the visible world.
Hammer-Tugendhat, Daniela. The Visible and the Invisible : On Seventeenth-Century Dutch Painting, Walter de Gruyter GmbH, 2015. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uow/detail.action?docID=2028775.
Created from uow on 2025-09-16 03:32:38.

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Quite a large text to undertake but what I'm gathering currently is the books framework encompasses wealth, gender and subjectivity and how this shapes cultural contexts.

Hammer-Tugendhat, D 2015, The Visible and the Invisible : On Seventeenth-Century Dutch Painting, Walter de Gruyter GmbH, Berlin/Boston. Available from: ProQuest Ebook Central. [16 September 2025].

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Caterpillage : Reflections on Seventeenth-Century Dutch Still Life Painting

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Caterpillage : Reflections on Seventeenth-Century Dutch Still Life Painting

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Jr., HB 2011, Caterpillage : Reflections on Seventeenth-Century Dutch Still Life Painting, Fordham University Press, US. Available from: ProQuest Ebook Central. [16 September 2025].

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pg.20

Caterpillage : Reflections on Seventeenth-Century Dutch Still Life Painting

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A more negative assessment of the burgher’s viewpoint dominates Hal Foster’s critical account of pronk (ostentatious or showy) still life as an “art of fetishism” that addresses but fails to assuage “anxiety about afﬂuence, expenditure, speculation”: Certainly in pronk pieces the concern with social position, with excess and ostentation, or, even less generous, the emphasis on moral probity, . . . overwhelms the sense of offering or gift vestigial in still life. The offering is somehow denied before the fact; the gift has a social, moral or economic tag attached; the presentation intimidates more than it welcomes. Even when pronk paintings represent food, which implicitly is ours by carnal right, it seems somehow spoiled, tabooed, inedible. Again the chill of the commodity is felt. 3
Jr., Harry Berger,. Caterpillage : Reflections on Seventeenth-Century Dutch Still Life Painting, Fordham University Press, 2011. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uow/detail.action?docID=3239562.
Created from uow on 2025-09-16 05:15:26.

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She suggests that the allure of still life lay not only in its parade of exotic products but also in the permission it gave observers “to enjoy them without any troublesome concern for their true costs” to remote, exploited populations in the New World. And she goes on to argue that, in still lifes containing self-portraits such as those by Simon Luttichuys and David Bailly, the self-referential elements remind us “that these are, after all, not laid tables in fact, but paintings of laid tables. . . . The artist’s reﬂection at the center of all insists upon that fact, calling us back from the seeming reality of the luscious foods and drinks on offer to the accomplishment of his rendering of them” and redirecting our attention from economic and domestic labor to the painter’s labor. 9
Jr., Harry Berger,. Caterpillage : Reflections on Seventeenth-Century Dutch Still Life Painting, Fordham University Press, 2011. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uow/detail.action?docID=3239562.
Created from uow on 2025-09-16 05:16:46.

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"If still life artists throw observers the bone of iconography by representing their subjects as the victims of allegorical capture, they often seem to do so in order to stage the observer’s release from the vanitas ."

(my notes the quote below)

- shows that dutch still life have traditionally highlighted wealth

- vanitas = historical framework (traditional interpretations)

- pleasure in material value, relating back to my question of how we can revalue objects through painting

it critiques dutch still life and reframes for better suited terms like consumption

Jr., Harry Berger,. Caterpillage : Reflections on Seventeenth-Century Dutch Still Life Painting, Fordham University Press, 2011. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uow/detail.action?docID=3239562.
Created from uow on 2025-09-16 05:18:42.

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Śniedziewska, M 2024, Seventeenth- Century Dutch Painting and Modern Literature, Peter Lang GmbH, Internationaler Verlag der Wissenschaften, Frankfurt a.M.. Available from: ProQuest Ebook Central. [16 September 2025].

Stone-Ferrier, L 2020, ‘Glimpses, Glances, and Gossip: Seventeenth-century Dutch Paintings of Domestic Interiors on Their Neighbourhood’s Doorstep’, RACAR, vol. 45, no. 2, pp. 25–46.

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Untitled (I shop therefore I am), Barbara Kruger, 1987

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Summary of debates on objects, value and consumerism.

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Starting out with a bang of Karl Marx research 

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Starting out with a bang of Karl Marx research 

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Notes on video

PART ONE

We are made to need to survive based from material objects like...

Food

Clothing

Shelter

This is the means of subsistence!

and in order to have these things we need more material value such as...

Land

Tools

Building Materials

This is the means of production!

Central characteristic of capitalism is needing the means of production but only having subsistence, therefore we are not able to survive without access to production.

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What's Up With Capitalism? A Marxist Perspective

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Use Value

How use of a commodity is able to for fill a need either through function, quality or quantity.

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Labor is a key factor in use value

example:

Air = no trade value (free)

Shoes = trade value (not free, labour needed to create)

Money is a universal unit of account to compare objects value

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5:00 in the video, interesting but not useful to my essay

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Marx argues that objects in a capitalistic society take on a social power that hides labour behind them.

In relation to still life this means when presented luxury goods they are presented in such a way that they already embody status of wealth.

These feitishised commodities in still life both conceal and reveal value, an important quality in a object to think about.

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What is Commodity Fetishism? | Socialism 101

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Research more about Dutch still life celebrating abundance and owned goods but now our culture lean into Marx's theory of fetishisation of brands and mass produced objects.

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Research more about Dutch still life celebrating abundance and owned goods but now our culture lean into Marx's theory of fetishisation of brands and mass produced objects.

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Mochizuki, M. M., & Hochstrasser, J. B. (2008). [Review of Still Life and Trade in the Dutch Golden Age]. Renaissance Quarterly, 61(1), 222–223. https://doi.org/10.1353/ren.2008.0120

Adams, J., & Stoler, A. (1988). [Review of The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age., by S. Schama]. Contemporary Sociology, 17(6), 760–762. https://doi.org/10.2307/2073570

Mohr, E. 2021. The Production of Consumer Society: Cultural-Economic Principles of Distinction. Bielefeld: transcript Verlag. https://doi.org/10.1515/9783839457030

Gabriel, R 2013, Why I Buy : Self, Taste, and Consumer Society in America, Intellect, Limited, Bristol. Available from: ProQuest Ebook Central. [16 September 2025].

Meneley, A 2018, ‘Consumerism’ K Strier & D Brenneis (eds), Annual review of anthropology, vol. 47, no. 1, pp. 117–132.

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Expressivism is the belief that every person holds inside him a deep reservoir of feelings, thoughts, and impulses, and that these deep processes can and should be expressed.1 This model of the mind seems so obvious that it is hard to imagine that people did not always think of their minds (and selves) as containing an inner space.

Gabriel, Rami. Why I Buy : Self, Taste, and Consumer Society in America, Intellect, Limited, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uow/detail.action?docID=1114559.
Created from uow on 2025-09-17 00:34:52.

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A commodity is a type of good that has value. Value can be broken down into two subtypes: exchange value, what other goods the commodity can be exchanged for, and use value, the utility of using a good. Consumer society and consumer culture will be used interchangeably.

Gabriel, Rami. Why I Buy : Self, Taste, and Consumer Society in America, Intellect, Limited, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uow/detail.action?docID=1114559.
Created from uow on 2025-09-17 00:36:57.

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How goods can give us status - relating back to dutch still life 

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How goods can give us status - relating back to dutch still life 

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One key element of consumer society is that people who live in a consumer society formulate their goals partly through acquiring goods that are not needed for material subsistence or traditional display. Goods include basic material necessities and also “positional goods” that place us in relative social standing (Hirsch, 1976).

Gabriel, Rami. Why I Buy : Self, Taste, and Consumer Society in America, Intellect, Limited, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uow/detail.action?docID=1114559.
Created from uow on 2025-09-17 00:38:28.

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An important social consequence of the acquisition of goods was that it allowed individuals in the subordinate classes to challenge traditional social stratification based on landholding and noble lineage (De Vries, 2008). In many ways, the promise of a democracy of consumers co-opted and restructured prevailing notions of class identity (Cross, 2001).

Gabriel, Rami. Why I Buy : Self, Taste, and Consumer Society in America, Intellect, Limited, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uow/detail.action?docID=1114559.
Created from uow on 2025-09-17 00:39:19.

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How we perceive possessions "TO HAVE IS TO BE"

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How we perceive possessions "TO HAVE IS TO BE"

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According to sociologist Celia Lury (1996), the relation between the self and contemporary consumer society is characterized by a strong belief that “to have is to be,” wherein self-identity itself becomes a possession. In this schema, consumer society provides the conditions for a politics of identity. The connection between self-identity and these notions of acquisition and possession is the focus of this chapter: “[I]t is precisely as expressions, creators, and innovators of a range of cultural meaning that goods have contributed to the rise of the modern West” (McCracken. 1988, p. 10).

Gabriel, Rami. Why I Buy : Self, Taste, and Consumer Society in America, Intellect, Limited, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uow/detail.action?docID=1114559.
Created from uow on 2025-09-17 00:43:57.

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This quote supports my claim that objects have always carried symbolic meaning and even more so in a consumer society 

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This quote supports my claim that objects have always carried symbolic meaning and even more so in a consumer society 

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(my notes on this quote for essay)

acknowledges how the observer can see symbolic weight in object hood innately

"object code" ties into Marx's commodity fetishism: for my project this can link to how objects no longer valued fro their use but they still carry cultural messaging

therefore we live in an pervasive object code where our identity is defined by our consumption choices.

it is central to our individuality and echos mass production cultural impact

todays iPhone or branded sneakers function the same as a golden goblet in the 1600's in dutch still life: it signals socially value through interpretation

"Consumers now (in a developed consumer society) occupied a world filled with goods that carried messages … they were surrounded by meaning-laden objects that could only be read by those who possessed a knowledge of the object-code … more and more social behavior was becoming consumption, and more and more of the individual was subsumed in the role of the consumer. (McCracken, 1988, p. 20)"

Gabriel, Rami. Why I Buy : Self, Taste, and Consumer Society in America, Intellect, Limited, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uow/detail.action?docID=1114559.
Created from uow on 2025-09-17 00:46:48.

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An example of the former is Karl Marx’s idea that fetishism of the material product is a process of reification where labor becomes alienated and the product functions as a substitute for labor. An example of the latter is Modern Euro-American societies, where high intensity market settings train individuals to be consumers.3 Although the following partial historical account of consumer society in America does not emphasise the tension between different sectors of society throughout the rise of consumer society, strong currents of dissent were always, and continue to be, prevalent.4 My own argument focuses on producer-led political shifts toward individualism dramatised in the balance between public and private spheres and consumer-led shifts toward personal expression through consumer goods.

Gabriel, Rami. Why I Buy : Self, Taste, and Consumer Society in America, Intellect, Limited, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uow/detail.action?docID=1114559.
Created from uow on 2025-09-17 00:56:45.

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Consumption has become cultural entertainment

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Consumption has become cultural entertainment

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(notes on quote)

this quote mirrors that consumption has become cultural entertainment, blurring art, commerce and leisure: we would rather go to the shops than an museum

aligns again w Marx's theory

can help me argue that consumer goods have shifted from private displays of wealth through art to a public format

"The difference between the mall and the museum as entertainment and the collection and accumulation of goods nearly disappeared. Furthermore, new avenues of consumption in the “experience” or leisure industry arose, for example, widely available forms of tourism, the availability of esoteric or obscure collectible goods, and the proliferation of cultural activities (Cross, 2001). It is fair to say people became separated from their communities as consumer goods fulfilled their social needs more conveniently."

Gabriel, Rami. Why I Buy : Self, Taste, and Consumer Society in America, Intellect, Limited, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uow/detail.action?docID=1114559.
Created from uow on 2025-09-17 00:59:05.

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Rami Gabriel References of chapter four  

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Rami Gabriel References of chapter four  

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1 Consumer society as “cultural frames for goods” is most convincingly described in Leiss, Kline, Jhally & Botterill (2005). This traditional history has recently been challenged by the narrative of an “industrious revolution” by De Vries, J. (2008). The industrious revolution: consumer behavior and the household economy, 1650 to the present. USA: Cambridge University Press. De Vries argues the consumer society arose out of changes in the organization of labor within the household. The excess value thus created made possible the purchasing power, availability, and acquisition of goods in the market.

2 Adam Curtis’s “The century of the self” (2002), BBC films, makes a similar argument.

3 For good compendiums on these issues, see The consumer society reader (2000). Juliet Schor (Editor), D. B. Holt (Editor), Douglas Holt (Author), The New Press: USA. And, Consumer society in American history: a reader (1999). Lawrence Glickman (ed.) Cornell University Press: USA.

4 See Schudson (1998), Breen (2004), and Zinn (2009), as well as many other titles in American History on Seven Stories Press.

5 American historians of consumer society, for example, Lears (1995), generally view 1880 as the beginning of a distinctly American consumer society.

6 See Etzioni (1998) for a contemporary call for moving back toward roughly Jeffersonian values.

7 This was even institutionalized in certain areas, for example, see Redlining: discrimination in residential mortgage loans (1975) created by the Illinois General Assembly, Legislative Investigating Commission.

Even though the twentieth century has shown that sometimes people are served better by following a centralized set of rules. This libertarian rhetoric continues in the Tea Party movement of 2010, see Lilla, M (2010). The Tea Party Jacobins. The New York Times Review of Books. May 27, 2010.

Gabriel, Rami. Why I Buy : Self, Taste, and Consumer Society in America, Intellect, Limited, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uow/detail.action?docID=1114559.
Created from uow on 2025-09-17 01:04:39.

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Erich Fromm criticises Western consumerism as an incorporation fetish: “I am

what I possess and what I consume!"33 He contrasts this ‘‘being by having and ac-

cumulating’’ with the secular-religious vision of the city of being, in which human

Mohr, E. 2021. The Production of Consumer Society: Cultural-Economic Principles of Distinction. Bielefeld: transcript Verlag. https://doi.org/10.1515/9783839457030

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Today's justification that consumption is economically beneficial, therefore is it socially good to continue?  

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Today's justification that consumption is economically beneficial, therefore is it socially good to continue?  

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The average is the critical variable out of the

belief that everything that is individually accumulated, is in principle available

for the compensation of the losers of individual action (Pareto principle). Under

these conditions, individual accumulation retains its basically favourable char-

acteristics.

Mohr, E. 2021. The Production of Consumer Society: Cultural-Economic Principles of Distinction. Bielefeld: transcript Verlag. https://doi.org/10.1515/9783839457030

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Identity found in object hood and HAVING. Consumption becomes performative act of being not just owning. 

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Identity found in object hood and HAVING. Consumption becomes performative act of being not just owning. 

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This multiple identity is not one of having, but of being. One does not have

one’s individual style as something one carries along, but one is one’s style – “Le

style c’est l’homme même”. One’ s own group does not have a common style, but the

group is that style. The style system does not have common styles, but it is they

who make it up. The individual has nothing to show or not to show, but shows

themself, and experiences not what others have, but who they are. There is no

having of basic conditions, which could be revealed by showing (possession sig-

nalling). Social identity is being in the style system.

Mohr, E. 2021. The Production of Consumer Society: Cultural-Economic Principles of Distinction. Bielefeld: transcript Verlag. https://doi.org/10.1515/9783839457030

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Of course, happiness and utility can be defined as the same. But the new re-

search on happiness distances itself in its findings from the orthodoxy, in which

utility is the familiar term.34 As empirical science of what is actually good for the

human being, happiness research sides with Fromm: accumulation is not the

only source of human well-being. It is only one of seven factors (Big Seven): fam-

ily, finances (accumulation), work, community and friends, health, freedom,

and personal values.

Mohr, E. 2021. The Production of Consumer Society: Cultural-Economic Principles of Distinction. Bielefeld: transcript Verlag. https://doi.org/10.1515/9783839457030

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First sentence gives me more theorist if I need

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First sentence gives me more theorist if I need

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Meneley, A. (2018). Consumerism. Annual Review of Anthropology, 47, 117–132. https://www.jstor.org/stable/48550897

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Meneley, A. (2018). Consumerism. Annual Review of Anthropology, 47, 117–132. https://www.jstor.org/stable/48550897

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KUCUK, S. U. (2016). Consumerism in the Digital Age. The Journal of Consumer Affairs, 50(3), 515–538. http://www.jstor.org/stable/44154754

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Miller highlights the opposite argument that consumerism is seen as purely negative 

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Miller highlights the opposite argument that consumerism is seen as purely negative 

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Could argue that objects and consumption can play a good role in our day to day in shaping identity and relationships

consumer goods are not always based from greed but can be also deeply meaningful

Miller, D. (2008). So, what’s wrong with consumerism? RSA Journal, 154(5534), 44–47. http://www.jstor.org/stable/41380555

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Good counter point: we hardly get rid of things usually 

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Good counter point: we hardly get rid of things usually 

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"The critique of consumption and commodities is often aligned with a general distaste for capitalism. Other aspects of my research suggest that the term capitalism has become a rather lazy word, masking a great variety of forms of political economy. These often work against each other, rather than forming some seamless process based on a single intention. My own issue with capitalism has more to do with the persistent inequality that prevents people from obtaining commodities."

Miller, D. (2008). So, what’s wrong with consumerism? RSA Journal, 154(5534), 44–47. http://www.jstor.org/stable/41380555

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nuance beyond "capitalism = bad"

inequality is the real issue here, consumption is bad when people get excluded from access to goods: could bring this point about elitism of painting/dutch works

objects can signify care, selfhood and status

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Miller, D. (2008). So, what’s wrong with consumerism? RSA Journal, 154(5534), 44–47. http://www.jstor.org/stable/41380555

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Looked up more of Miller's work and can only find limited versions on uow and JSTOR but "The comfort of things" looks good for my project

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Looked up more of Miller's work and can only find limited versions on uow and JSTOR but "The comfort of things" looks good for my project

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Soron, D. (2005). Death by Consumption [Review of State of the World 2004. Special Focus: The Consumer Society; The High Price of Materialism; The Consumer Trap: Big Business Marketing in American Life, by The Worldwatch Institute, L. Starke, T. Kasser, & M. Dawson]. Labour / Le Travail, 55, 197–212. http://www.jstor.org/stable/25149566

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Holmstrom focuses on women's paid domestic labour, highlighting that different groups don't benefit equally from capitalism 

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Holmstrom focuses on women's paid domestic labour, highlighting that different groups don't benefit equally from capitalism 

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Holmstrom, N. (1981). “Women’s Work,” the Family and Capitalism. Science & Society, 45(2), 186–211. http://www.jstor.org/stable/40402313

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Holmstrom, N. (1981). “Women’s Work,” the Family and Capitalism. Science & Society, 45(2), 186–211. http://www.jstor.org/stable/40402313

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Holmstrom, N. (1981). “Women’s Work,” the Family and Capitalism. Science & Society, 45(2), 186–211. http://www.jstor.org/stable/40402313

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In my essay I can parallel how commodities and consumption practices benefit and also exclude others

will be my bridging idea of inequality and value

how the histories of labour and production though hidden and subjective in its worth it can bring "invisible" histories to the forefront

Holmstrom critiques how capitalism value to profit

my project acts as a resistance in creating a new system of value, in memory, material.

inspired by Holmstrom's reading

Holmstrom, N. (1981). “Women’s Work,” the Family and Capitalism. Science & Society, 45(2), 186–211. http://www.jstor.org/stable/40402313

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Holmstrom, N. (1981). “Women’s Work,” the Family and Capitalism. Science & Society, 45(2), 186–211. http://www.jstor.org/stable/40402313

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Cornelia Parker, Thirty Pieces of Silver (detail), 1988–89. Installation view, Museum of Contemporary Art Australia, 2019. Silver-plated objects flattened by a steamroller, wire. Tate: Purchased with assistance from Maggi and David Gordon 1998. Image courtesy the artist, Museum of Contemporary Art Australia and Frith Street Gallery, London. Photograph: Anna Kučera

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Explore how artists use the practice of art to critique consumerism culture, turning the discarded into meaningful works.

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My research question being: How can discarded objects be rethought through oil painting to change their perceived value within consumer culture?

I begged the question to myself... do all the artists I have to research HAVE to paint?

Artists such as..

JUDE RAE

CORNELIA PARKER

SONG DONG

show how different media have the same thematic concern but recontextualise it in their material richness

I think in the essay I will just need to highlight the permanence of painting and the emphermerality of installation

emphasising Rae more due to her similarity to me in my concept

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THINK TIME: How can discarded objects be rethought through oil painting to change their perceived value within consumer culture?

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THINK TIME: How can discarded objects be rethought through oil painting to change their perceived value within consumer culture?

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Now what does oil painting actually bring to the table!

1. Slowness

2. Its a reflective process, forced to act with intention

3. Permanence of the medium itself

4. Historical Authority over time it has gained monetary value due to its slow nature of the medium

5. Narrative

Notes

Can't get book online but the story of art (1995) looks good

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Pincus, L. 2005, Experiment in seventeenth-century Dutch painting: The art of Carel Fabritius, The University of Chicago.

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Pincus, L. 2005, Experiment in seventeenth-century Dutch painting: The art of Carel Fabritius, The University of Chicago.

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read through chapter 2 not great for what im trying to look for

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"COLOR: A NATURAL HISTORY OF THE PALETTE", 2002, Kirkus Reviews, , no. 21.

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"COLOR: A NATURAL HISTORY OF THE PALETTE", 2002, Kirkus Reviews, , no. 21.

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Too short

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Loh, M. H. (2019). Titian's touch : Art, magic and philosophy. Reaktion Books, Limited.

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Loh, M. H. (2019). Titian's touch : Art, magic and philosophy. Reaktion Books, Limited.

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Loh, M. H. (2019). Titian's touch : Art, magic and philosophy. Reaktion Books, Limited.

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Loh, M. H. (2019). Titian's touch : Art, magic and philosophy. Reaktion Books, Limited.

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Loh, M. H. (2019). Titian's touch : Art, magic and philosophy. Reaktion Books, Limited.

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Loh, M. H. (2019). Titian's touch : Art, magic and philosophy. Reaktion Books, Limited.

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really clutching at straws here to find anything good on oil paint 

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really clutching at straws here to find anything good on oil paint 

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Brief history of paint 1994, , New Statesman Ltd, London.

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WHITE, R., PILC, J., & KIRBY, J. (1998). Analyses of Paint Media. National Gallery Technical Bulletin, 19, 74–95. http://www.jstor.org/stable/42616124

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WHITE, R., PILC, J., & KIRBY, J. (1998). Analyses of Paint Media. National Gallery Technical Bulletin, 19, 74–95. http://www.jstor.org/stable/42616124

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WHITE, R., PILC, J., & KIRBY, J. (1998). Analyses of Paint Media. National Gallery Technical Bulletin, 19, 74–95. http://www.jstor.org/stable/42616124

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WHITE, R., PILC, J., & KIRBY, J. (1998). Analyses of Paint Media. National Gallery Technical Bulletin, 19, 74–95. http://www.jstor.org/stable/42616124

# data[].attributes.headline
WHITE, R., PILC, J., & KIRBY, J. (1998). Analyses of Paint Media. National Gallery Technical Bulletin, 19, 74–95. http://www.jstor.org/stable/42616124

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WHITE, R., PILC, J., & KIRBY, J. (1998). Analyses of Paint Media. National Gallery Technical Bulletin, 19, 74–95. http://www.jstor.org/stable/42616124

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Looked through the references list to no avail 

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Looked through the references list to no avail 

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going to move on for now of trying to find exact history of oil paint, doesn't seem relevant 

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going to move on for now of trying to find exact history of oil paint, doesn't seem relevant 

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Cornelia Parker was born in 1956 in Cheshire, UK. She studied at Gloucestershire College of Art and Design (1974-75), Wolverhampton Polytechnic (1975-78), and received her MFA from Reading University in 1982. Parker was awarded an honorary doctorate from the University of Wolverhampton (2000), the University of Birmingham (2005), and the University of Gloucestershire (2008). Parker lives and works in London.

https://wildegallery.ch/artists/cornelia-parker/

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Cornelia Parker (1956, Cheshire, United Kingdom) - Wilde Gallery - Artists

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London-based artist Cornelia Parker translates everyday objects into sculptural works that explore the nature of matter and physical properties.

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A major survey exhibition of the work of acclaimed British artist, Cornelia Parker.

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Silver is commemorative, the objects are landmarks in people’s lives. I wanted to change their meaning, their visibility, their worth, that is why I flattened them, consigning them all to the same fate. As a child I used to crush coins on a railway track – you couldn’t spend the money afterwards but you kept the metal slivers for their own sake, as an imaginative currency and as physical proof of the destructive powers of the world. I find the pieces of silver have much more potential when their meaning as everyday objects has been eroded. ‘Thirty Pieces of Silver’ is about materiality and then about anti-matter. In the gallery the ruined objects are ghostly levitating just above the floor, waiting to be reassessed in the light of their transformation. The title, because of its biblical references, alludes to money, to betrayal, to death and resurrection: more simply it is a literal description of the piece.

(Quoted in British Art Show, exhibition catalogue, Hayward Gallery, London 1990, p.88.)

https://www.tate.org.uk/art/artworks/parker-thirty-pieces-of-silver-t07461

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Thirty Pieces of Silver comprises over a thousand flattened silver objects, including plates, spoons, candlesticks, trophies, cigarette cases, teapots and trombones. All the objects were ceremoniously crushed by a steamroller at Cornelia Parker's request. She then arranged the transformed silver artefacts into thirty disc-shaped groups, which are suspended about a foot from the floor by hundreds of fine wires. Each 'disc' is approximately ninety centimetres in diameter and they are always hung in orderly rows, although their overall configuration is adapted each time to the space in which the work is displayed. The title refers to the biblical story of how the apostle Judas Iscariot betrayed Jesus in return for thirty pieces of silver. When the work was exhibited in the Hayward Gallery's British Art Show of 1990, Parker commented on the work in the exhibition catalogue:

Silver is commemorative, the objects are landmarks in people's lives. I wanted to change their meaning, their visibility, their worth, that is why I flattened them, consigning them all to the same fate. As a child I used to crush coins on a railway track - you couldn't spend the money afterwards but you kept the metal slivers for their own sake, as an imaginative currency and as physical proof of the destructive powers of the world. I find the pieces of silver have much more potential when their meaning as everyday objects has been eroded. 'Thirty Pieces of Silver' is about materiality and then about anti-matter. In the gallery the ruined objects are ghostly levitating just above the floor, waiting to be reassessed in the light of their transformation. The title, because of its biblical references, alludes to money, to betrayal, to death and resurrection: more simply it is a literal description of the piece.

(Quoted in British Art Show, exhibition catalogue, Hayward Gallery, London 1990, p.88.)

Parker's work frequently transforms the nature of an object or material through the use of extreme force. She has crushed, stretched and exploded numerous objects, while also enlisting the help of such unlikely collaborators as the British Army, the Colt Firearms Factory in Connecticut and H.M. Customs and Excise. Cold Dark Matter: An Exploded View 1991 (Tate ) is a pivotal piece in Parker's career and exemplifies her often violent approach to materials. It comprises the charred remains of a garden shed that was blown up for the artist by the British Army. The residual fragments are suspended around a single light bulb. Thirty Pieces of Silver was the first large-scale work that featured what Parker calls a 'cartoon death'. She has long been fascinated by the violence of cartoons: 'flattening Tom, Jerry filled with bullet holes, Road Runner falling off a cliff. The deaths are only token ones as the characters always pop up again in the next frame.' (Quoted in Virginia Button, 'Conversation with Cornelia Parker', Ninety, No.27, 1998, p.68.) Similarly, Parker is not interested simply in the destruction of materials, but more their resurrection and transformation.

Parker has since made many other works involving silver. For example, to make Measuring Niagara with a Teaspoon 1997 (Tate ), she took a Georgian teaspoon and had it melted down and then drawn into a wire whose length was equal to the height of the Niagara Falls. The value and meaning of silver, as well as its physical properties, have been a source of continual fascination for her. She has said that this is 'because it is the most reflective metal that exists and [it] also has the ability to be the opposite very dull and black, it has the plus and minus in one material. Also linguistically in terms of the use of silver in language, 'silver tongued', silver lining'. It has a very poetic aura around it, it's used in mirrors in which we see ourselves and in telescopes to look at the universe ... It's part of our cultural make-up somehow, it has all kinds of ways of being in the world. Metals, in general, I love but I think that silver is my favourite'. (Quoted in unpublished excerpt of interview with Tate curator Virginia Button, 1998.)

Cornelia Parker, exhibition pamphlet, Serpentine Gallery, London 1998.
Cornelia Parker, exhibition catalogue, Institute of Contemporary Art, Boston 2000, reproduced p.42.
Cornelia Parker, exhibition catalogue, Galleria Civica d'Arte Moderna e Contemporanea, Turin 2001, reproduced in colour, p.92.

Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.

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'Thirty Pieces of Silver', Cornelia Parker CBE RA, 1988-9 | Tate

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'Thirty Pieces of Silver', Cornelia Parker CBE RA, 1988-9

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Parker’s work frequently transforms the nature of an object or material through the use of extreme force.

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Highlights how our objects can be revalued 

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Highlights how our objects can be revalued 

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For Thirty Pieces of Silver, 1988–89, Parker scavenged cutlery, candlesticks, and other objects made of silver plate, steamrolled them all on a dusty road (at the time, her East London home was slated for demolition to make way for a new motorway), and then suspended the flattened shapes in groups of thirty a few inches above the floor. And for Cold Dark Matter: An Exploded View, 1991, she persuaded the British Army to help her blow up a garden shed, the blackened fragments of which she fastidiously gathered up and hung piece by piece from the ceiling, illuminating them with a single interior light that casts shadows worthy of Halloween. These found objects are thus lost and found again, or, better, they are destroyed yet resurrected in this very destruction—not brought back to use value, of course, or readily given over to exchange or exhibition value (Parker is picky about who acquires her works, and they are obviously difficult to display), but placed in a state of suspended animation.

https://www.artforum.com/features/hal-foster-on-cornelia-parker-252289/