A Quote by Audrey Flack

It is terrifying to think of what a commodity art has become. — © Audrey Flack
It is terrifying to think of what a commodity art has become.
The art market was very different before the mid-1980s: then, art was all about passion, whereas now it's become a commodity.
Economic theory has nothing to say as to what commodity will acquire the status of money. Historically, it happened to be gold. But if the physical makeup of our world would have been different or is to become different from what it is now, some other commodity would have become or might become money. The market will decide.
I think that there's absolutely no point trying to force your body to be anything than what it is. I think that when you see people who are really pushing themselves to terrifying lengths to achieve what is perceived as being beautiful today, then that's just terrifying, it's really terrifying.
If you look at UFC champions: BJ Penn - terrifying! GSP - terrifying! Anderson Silva - terrifying! But I'm not terrifying.
The novel is the first art form that is an honest-to-god commodity. That's what makes it different from both high art and folk art.
Nations that use commodity capitalism as a stepping-stone to a mixed economy based on commodity/intellectual capitalism will most likely become rich.
Film has become a marketed commodity, and the opportunities and audiences for art cinema have grown smaller. There is a general downturn in cultural literacy, perhaps because of television.
I think in Europe, movies are made like a commodity and then sold as art.
The banker, therefore, is not so much primarily a middleman in the commodity "purchasing power" as a producer of this commodity. However, since all reserve funds and savings today usually flow to him, and the total demand for free purchasing power, whether existing or to be created, concentrates on him, he has either replaced private capitalists or become their agent; he has himself become the capitalist par excellence.
Looting is a natural response to the unnatural and inhuman society of commodity abundance. It instantly undermines the commodity as such, and it also exposes what the commodity ultimately implies: the army, the police and the other specialized detachments of the state's monopoly of armed violence.
I don't think in art there is ever a precedent; each moment is a new one and terrifying and threatening and bursting with hope.
That's why fame freaks me out in a lot of ways - because how genuine of a connection can you have when you're a commodity, and a conversation with you means bragging rights? That's terrifying to me.
I really admire stand-up, and I think I would have loved to learn how to do it. I think it's terrifying and thrilling. A really cool thing to do. It's a dying art, in a way.
What is it about a work of art, even when it is bought and sold in the market, that makes us distinguish it from . . . pure commodities? A work of art is a gift, not a commodity. . . works of art exist simultaneously in two “economies”, a market economy and a gift economy. Only one of these is essential, however: a work of art can survive without the market, but where there is no gift, there is no art.
A record is a commodity, but so is a hamburger. Just because I work at McDonald's doesn't mean I reap the benefits of that commodity. That's the reality with most artists in the record industry: They're getting paid a subsistence wage so they can keep producing a commodity for the record label.
The art of marketing is the art of brand building. If you arenot a brand, you are a commodity. Then price is everything and the low-cost producer is the only winner.
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