With the recent hype surrounding the latest batch of Christmas-themed TV adverts, it is notable how their reception appears to have displaced ‘proper’ art. I have witnessed, on social media and elsewhere, more excitement, anticipation and discussion regarding these adverts (particularly the ubiquitous offering from John Lewis) than I have any film, TV show or song in recent memory. While this is not inherently a bad thing – it’s not that I’m precious about people paying more attention to advertising than capital ‘A’ Art – the way people are coaxed into venerating content that exists solely to extract money from them is rather sinister.
To gain an understanding of the way in which art can itself be an agent of cultural critique it is vital to explore the true nature of spectatorship, how this relates to the production and reception of meaning in art and, ultimately, how a lucid understanding of these two issues contribute to a recognition of art’s actual critical capacity. Here we will identify art’s critical potential through a focus on the implications of Jacques Ranciere’s analysis of spectatorship, while also drawing upon Adorno’s exploration of meaning in art, and identifying how their work relates to a burgeoning accelerationist aesthetic evident in some contemporary artistic practice. The manifestation of this critical potential in contemporary art will be explored through the works of musicians James Ferraro and Daniel Lopatin, as well as a selection of the multitude of artists following in their wake.