About Carolyn Sortor

Carolyn Sortor is a media-based artist, curator, and writer with no formal art credentials other than a B.F.A. purchased from her boyfriend, who didn't need it anymore. Her work has been exhibited in Dallas, New York, San Francisco, Austin, Marfa, and Corpus Christi and broadcast on Current TV. Perhaps her best-known work is her Matthew Barney spoof, Creamistress 6: "The Centered Polenta". In 2008 she co-curated The Program in Dallas, Texas, comprising media-based works by nearly fifty internationally-recognized artists. Before declaring as an artist, she had a seventeen-year career as a transactional lawyer.

Money as Message

When I was researching currencies for a project of my own, I noticed they seemed to be used as vehicles for p.r. , carriers for messages intended for the nation’s citizens and others. At right are images of some vintage bills I looked at (click on the images for larger, more legible versions).

Most of the imagery seemed to have to do with evincing the issuing country’s aspirations, or portraying its rulers in a heroic light, or advertising the country’s national heritage or touristic attractions; a few even seemed to be saying, “our chicks are hot.”

The U.S. dollar is packed with meaningful symbols and phrases; here‘s an authoritative explanation of most of them.

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What Are the Questions?

As I write this, a poll in the right side-bar of this blog asks,

(Editors Note: Carolyn submitted this post in the earlier beta-stage of this blog, when indeed such a poll existed in the right side-bar)

“What is the real value of art?

  1. Its financial value
  2. Its spiritual value
  3. Social cohesion
  4. Keeping artists off the streets.
  5. Who cares about art, have you seen my new flatscreen television?!”

As usual, I want to answer, none of the above!  For me, each of those answers carries implicit assumptions I’m not sure I accept.

The “Art as Money” project is intended to explore questions about the use of art as a currency or medium of exchange, AND about art as a store of wealth, AND possibly about art as a marketable commodity, AND possibly other matters as well.  I find some discussions of such questions confusing because, like the multiple-choice answers, they seem to carry assumptions I don’t agree with or just don’t understand.

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Re: Wikileaks

I’ve been v. absorbed in the Wikileaks story lately. And I happen to consider art a form of information. And while listening to one of J. Assange’s many good speeches (here; partial transcript + analysis here), I realized he views information as a form of wealth (among his other insights).  And that the infowar is in fact a class war, with “class” defined by wealth measured not in terms of money but in terms of information.

And one of the most concerning aspects of the WL situation to me is the way p.r./propaganda obviates truth – that WL could, with great risk and effort, get all the truth in the world published w/o any harm to anyone, only benefit; but with the kinds of p.r. now deployed by the oligarchs, which reaches deep into our minds to tap our most primitive fear, anger, greed, and lust, so that our higher faculties are completely bypassed – with that in their arsenal, mere information, actual truth, might simply not matter anymore.

And I’m not totally sure where I’m going with this yet; but part of it is that this isn’t just an infowar, it’s a p.r. war; and that art, as a form of info, is literally a form of wealth; and I hope everyone’s paying very close attention to what’s happening out there.

And art is also a form of p.r.  And I believe artists have a very important role to play in helping, as Assange has put it, to turn truth into “an emotionally impactful story.”

So consider this a call to aesthetic/economic arms.  More info, tools re- the WL story here.

Other Money Art Projects

One recent, interesting project is ART WORK.  The Chicago-based collective, Temporary Services organized and published a one-off newspaper on the subject of art, labor, and economics, and recruited others nationwide to help distribute the newspaper, and also encouraged them to organize their own exhibitions or other events relating to the newspaper.  Below is an edited excerpt from the newspaper; and there’s lots more great material on the ART WORK website; among other things, you can download a complete copy of the ART WORK newspaper.

SELECTED MOMENTS IN THE HISTORY OF ECONOMIC ART
Compiled by Temporary Services

1924 – Marcel Duchamp issues Monte Carlo Gambling Bond.
{This was a bond series issued by Duchamp to raise funds for his roulette-play using a system he suggested might “break the bank,” in exchange for a share of the winnings.  Duchamp eventually admitted he never won anything.} link

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