“I think but I don’t exist,” Lisbon, Portugal (2015)
Posts Tagged ‘public art’
Tags: miscellaneous, Portugal, public art
Tags: art, Marx, public art, Venice Biennale
Apparently, the British artist-film-maker Isaac Julien is directing a public reading of all three volumes of Marx’s Capital at the Venice Biennale [ht: sk]. (Julien is the director of a 2013 film Kapital, which is also being shown at the biennale.)
Perhaps it was too much to ask that the curator of the biennale’s central exhibition, Okwui Enwezor, actually understand his Marx (although the reporter, Charlotte Higgins, evidently does):
So what is the corollary of staging Das Kapital? I ask Enwezor. Did not Marx foresee the end of capitalism, inevitably brought down by its internal contradictions? “His programme was to use capitalism to achieve social equality,” says Enwezor. “I don’t think that Marx, had he lived, would have wanted capitalism to end.” I am slightly confused by this: I am no Marx expert, but I had gained the distinct impression that although Marx admired the energy and inventiveness of capitalism, he wanted it overthrown and replaced with a system that allowed people justice and dignity.
Tags: education, funding, public art, public universities, students
The answer: when state funding is declining and universities go elsewhere (out of state and out of the country) to recruit students.
As Randy Olson demonstrates, state funding per student at U.S. four-year public universities has been on the decline since early in the new millennium.*
And, as Kevin Carey argues, since 2000, student enrollment has fundamentally changed, especially at national public universities.
Most students attending public universities stay in the state where their parents reside, in large part because in-state students have traditionally received a steep tuition discount. Out-of-state students have long been in the minority and pay tuition closer to that charged by private universities. As recently as 2000, national and regional public universities were similar in this regard. That year, 80 percent of national public university students were in-state, compared with 86 percent at regional public universities.
But in the years that followed, the two groups began to diverge. At regionals, little changed. College enrollment swelled in every state after 2000 as the baby boom echo generation finished high school and a larger share of high school graduates enrolled in college. The additional students at regional universities looked much like the old ones. From 2000 to 2012 (the latest year of available federal data), nine out of 10 additional regional public university students were in-state.
The pattern at elite national universities was very different. There, the majority of additional students were from other states. Instead of extending their traditional mission of providing an affordable, high-quality education to local residents, national universities focused on recruiting students from other states and nations, many of whom paid much higher tuition rates. As a result, the number of in-state spots relative to the college-going population as a whole declined significantly at national public universities.
In other words, national public universities are increasingly behaving like private universities, and regional public universities are attempting to educate in-state students with less and less public funding per student.
That’s why the public university system in the United States is quickly becoming public in name only.
*To be clear, overall state funding for public universities actually increased in real terms until the 2007-08 financial crash (and fell precipitously since then) but an even larger increase in student enrollments means that state funding per student has fallen dramatically in comparison to the late 1980s and early 2000s.
Tags: Canada, class, graffiti, public art
In this photo taken on Monday Feb. 17, 2014, an anti-austerity work of street art featuring the Dalton Brothers from the Belgian comic ‘Lucky Luke’ is seen in the Exarchia area of central Athens. Greece’s grueling financial crisis and the harsh terms of an international bailout have inspired multiple works of graffiti around Athens.
Tags: capitalism, China, commodity fetishism, Liu Bolin, public art, unemployment
Chinese artist Liu Bolin makes himself invisible and, in doing so, makes visible two key aspects of capitalism: commodity fetishism (“Hiding in the City – Puffed Food”) and unemployment (“Hiding in the City No.18 – Laid Off”).