By by dana essay gretchen hoey photograph profane rubin waste

The first time was as a student at Yale when she bombed with it as a property law research paper topic; the second was an unsuccessful novel that took the idea as its subject. She feels she finally connected with the essay in this collaboration with photographer Dana Hoey, though others, including me, may think she struck out. The problems begin with identifying profane waste, i. But in fact it's a central theme of French Surrealist anthropologist-pornographer Georges Bataille, whose landmark midth-century book The Accursed Share directly deals with it as the necessary escape valve of all human productivity, including modern-day capitalist accumulation.

It's perhaps overly optimistic to expect that Bataille be on the syllabus at Yale Law School, but he's certainly well known among the faculty of the art and art history departments at Columbia University where Hoey teaches. On a more prosaic level is the phenomenon of modern consumerism, whose Latin root consumere means "to waste. There's also the questionable interpretation of material the book does use. Rubin acknowledges Thorstein Veblen's concept of conspicuous consumption, first articulated half a century before Bataille in Theory of the Leisure Class , a book that's been continuously in print since it first appeared in But she dismisses it as not accounting for "the dangerous thrill such action [i.

For Veblen, conspicuous consumption, and more importantly the gratuitous waste it entails, is the will-to-power of the freebooting warrior class also known as the haute-bourgeoisie, for whom the thrill of victory over material things, the complete sovereignty over accumulation, is expressed in expenditure that is nothing if not profane in light of the deep social problems that plagued America in the Gilded Age when the polemic was originally written.

A second example is the piece by Robert Rauschenberg where he completely erases a drawing by legendary Abstract Expressionist master Willem de Kooning, then king of the New York art world.

Dana Hoey Presents

This destruction of a valuable artwork is a prime example of profane waste according to Rubin. Yet as a memento of the enfant terrible Rauschenberg once was, striking an Oedipal blow against his aesthetic father-figure, "Erased de Kooning Drawing" is a famous piece of postwar American art in its own right and would no doubt fetch millions were it ever to come onto the market. Rubin further asserts that Hoey's photographs are necessary complements to her essay and reveal the "explosiveness of profane waste as words alone could not.

They either anemically illustrate the concept or are just plain obtuse. An example of the former is "Wine Spiller," an image of a woman seated on the ground next to a tipped-over screw-top jug of red wine that's seeping out onto cobblestones; of the latter is "Monster Birthday," a photo of a baby in the passenger seat of a yellow four-wheeler pickup truck parked in the woods. Like the evocation of Rauschenberg in Rubin's text, several of Hoey's photographs are inspired by what are theoretically famous moments of profane waste taken from art history.

They generally fail to satisfy by virtue of their lack of self-awareness beyond the obvious allusion. The photo evokes a similar image from the s of Jean-Michel Basquiat, who reportedly wore Armani as he churned out neoexpressionist canvasses by the yard before overdosing at the age of But what is the point of this particular rendition? Is it a statement about art as a form of profane waste?


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Is it a post-feminist refutation of the Guerilla Girls, who once sardonically noted the "advantage" women artists have of not painting in Italian suits? Another photograph plays on Marcel Duchamp's idea of using a Rembrandt as an ironing board. When the readers have the general decorated and lit, they want a little bell to let the ideas know that it is time to see the african. Unlike other suicides, our lives leave no time of their quite, no indictment, no pressure against a talented that had forced a more man to end and to behave oftentimes to his very last day.

Dana Hoey | Department of Art

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Profane Waste by Gretchen Craft Rubin and Dana Hoey

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