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The Hunger Artists

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  1. Introduction.
  2. Frederic Jameson's critique: Linkage of art to commerce.
  3. The government and the creation of a hierarchy within the art world.
  4. How does one control one's art?
  5. Franz Kafka: The Hunger Artist.
  6. The mechanic production and funding of art.
  7. Conclusion.
  8. Works cited.

As many authors have spent novels analyzing, we are not alone in constructing ourselves. In his essay "Postscripts on Societal Control," Deleuze aptly states "control is not a closed system." In this world of ever-growing commodities and technological advances, it is becoming increasingly apparent how invasive control is; scientists are quickly approaching ways to biochemically engineer humans, and Michel Foucault has made famous his arguments regarding the panoptical idea that society is controlled by feeling the presence of constant surveillance, whether it be from a god or a government. But what happens when control is so slippery that we are no longer granted the creative, artistic freedom we were taught made us individuals? When even our supposedly god-given right for personal expression is limited by power structures that are often sightless, tasteless, and utterly senseless, one can't help but question if we have any rights that aren't bound to the restrictions unknowingly set for us.

[...] If there is any way to win the battle for integrity and expression, than the most important realization is that, to once again rely on the eloquence of Deleuze, conception of a control mechanism ( ) is not necessarily one of science fiction.? (312) It is up to the artists of today's manipulative society to recognize that those ideas of controlling both mind and body, and the governments behind them, are surely real and desperately hoping we will pass them off as mere invention, and nothing worthy of batting an eye towards. [...]

[...] And that relationship was exploited in some of the exhibits.? (Saunders 260) It was as if America was claiming that even its artists felt so free and empowered by their country and its culture, that even splattered paint was an honorable expression, and rigid lines and the stifling confines of realist painting was not. Regardless of how the artist felt, or knew how he was being portrayed, the American government capitalized on a person being able to produce something. The CIA realized that that ?something? was art, and could be manipulated to look like democracy had a vital part in manufacturing American expression. [...]

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