The Hipster as an Entrepreneur of the Self

Hill, Wes

doi:10.1007/978-3-319-68578-6_4

Wes Hill²

425 Accesses

Abstract

In this section, the hipster is examined in terms of the neoliberal subject as an entrepreneur of the self. It is traced in relation to alternative culture in the 1990s, the inauguration of creative industries policies, art movements such as relational aesthetics and the Young British Artists (YBAs), and contemporary practices aligned with the cultural politics of global capitalism.

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Notes

1.
David Harvey, A Brief History of Neoliberalism (New York: Oxford University Press, 2005), 2.
2.
Richard Lacayo, “If Everyone Is Hip … Is Anyone Hip?,” Time, vol. 144, no. 6 (8 August 1994): 49.
3.
Ibid., 48.
4.
Holly Kruse, Site and Sound: Understanding Independent Music Scenes (New York, Peter Lang, 2003) 149.
5.
Thomas Frank, “Dark Age” the Baffler, No. 6 (1994): 133.
6.
Pierre Bourdieu, The Field of Cultural Production Essays on Art and Literature, ed. Randal Johnson (London: Polity Press, 1993), 36.
7.
Ibid., 50.
8.
Ibid., 39.
9.
James Jebbia quoted in Alex Williams, “Guerrilla Fashion: The Story of Supreme.” New York Times, 21 November 2012 Available at: http://www.nytimes.com/2012/11/22/fashion/guerrilla-fashion-the-story-of-supreme.html (accessed 1 Nov 2016).
10.
Karl Spracklen, “There is (almost) no alternative: the slow ‘heat death’ of music subcultures and the instrumentalization of contemporary leisure,” Annals of Leisure Research, 17:3 (2014): 258.
11.
Matthew Collings, Art Crazy Nation (London: 21 Publishing, 2001), 136.
12.
Julian Stallabrass, High Art Lite: British Art in the 1990s (London: Verso, 1999), 201.
13.
Ibid., 88.
14.
Quoted by Rosie Millard, The Tastemakers: UK Art Now (London; Thames and Hudson, 200), 53.
15.
Richard Florida, The Rise of the Creative Class (New York: Basic Books, 2002), 37.
16.
Ibid., 21.
17.
Sharon Zukin, Naked City: The Death and Life of Authentic Urban Places (New York: Oxford University Press, 201), 43.
18.
Richard Florida, ‘More Losers than Winners in America’s New Economic Geography’, CityLab, 30 January (2013), 7. http://www.citylab.com/work/2013/01/more-losers-winners-americas-new-economic-geography/4465/. (accessed 19 Sept 2014).
19.
Michel Foucault, The Birth of Biopolitics (New York: Palgrave Macmillan, 2008), 239.
20.
Michel Foucault, Power/Knowledge, ed. C. Gordon (New York: Vintage, 1980), 155.
21.
Foucault , The Birth of Biopolitics, 253.
22.
Ibid., 63–64.
23.
Ibid., 65.
24.
Ibid., 226.
25.
Jodi Dean, Crowds and Party (Verso, London & New York, 2016), 32.
26.
Foucault , The Birth of Biopolitics, 246.
27.
Ibid.
28.
Tony Bennett, “Guided Freedom: Aesthetics, Tutelage, and the Interpretation of Art,” Tate Papers, Issue 15 (1 April 2011): 11.
29.
Jason Read, “A Genealogy of Homo-Economicus: Neoliberalism and the Production of Subjectivity,” Foucault Studies no. 6 (February 2009): 29.
30.
Michael Hardt and Antonio Negri, Empire (Cambridge; London: Harvard University Press, 2000), xv.
31.
Ibid., 334.
32.
Ibid., 93.
33.
Ibid., Xiii.
34.
Slavoj Žižek, “Multitude, Surplus, and Envy,” Rethinking Marxism Vol. 19 no. 1 (2007): 53.
35.
Ibid.
36.
Jodi Dean, Crowds and Party (Verso, London & New York, 2016), 42.
37.
Jacques Rancière, “The Thinking of Dissensus:Politics and Aesthetics,” Reading Rancière ed. Paul Bowman and Richard Stamp (London: Continuum, 2011), 12.
38.
Jodi Dean, “Politics without Politics,” Reading Rancière ed. Paul Bowman and Richard Stamp (London: Continuum, 2011), 79.
39.
Slavoj Žižek, Revolution at the Gates (London: Verso, 2002), 297.
40.
Philipp Oehmke “Welcome to the Slavoj Žižek Show,” Der Spiegel July 8, 2010 http://www.spiegel.de/international/zeitgeist/the-most-dangerous-philosopher-in-the-west-welcome-to-the-slavoj-Žižek-show-a-705164.html (accessed 1/4/17).
41.
Jodi Dean, Crowds and Party (Verso, London & New York, 2016), 3.
42.
Dean, 2016, 3.
43.
Ibid.
44.
Slavoj Žižek, “Occupy First: Demands Come Later,” Guardian (Thursday 27 October 2011). https://www.theguardian.com/commentisfree/2011/oct/26/occupy-protesters-bill-clinton
45.
Ibid.
46.
Dean, 2016, 125.
47.
Dean, 2016, 4.
48.
Dean, 2016, 120.
49.
Dean, 2016, 11.
50.
Dean, 2016, 64.
51.
Dean, 2016, 194.
52.
Dean, 2016, 21.
53.
Dean, 2016, 4.
54.
Jim McGuigan, “The cultural public sphere,” European Journal of Cultural Studies Vol. 8 (4) (2005): 438.
55.
Mark Fisher, Capitalist Realism: Is There No Alternative (Washington: Zero Books, 2009), 15.
56.
Clive Barnett, Nick Clarke, N, Paul Cloke, Alice Malpass, “The Political Ethics of Consumerism,” Consumer Policy Review 15 (2) 2005: 45.
57.
Hal Foster, “Postmodernism in Parallax,” October, 63 (Winter, 1993): 4.
58.
Bourriaud , Relational Aesthetics, 22.
59.
Debord, 1994 [1967], 12.
60.
Bourriaud , Relational Aesthetics, 9.
61.
Ibid., 85.
62.
Ibid., 16.
63.
Debord, 1994 [1967], 13.
64.
Bourriaud , Relational Aesthetics, 31.
65.
Ibid., 16.
66.
Ibid., 45.
67.
Ibid., 31.
68.
George Baker, Introduction to “Antagonism and Relational Aesthetics,” Claire Bishop, October, 110 (Fall, 2004): 50.
69.
Hal Foster, “Arty Party,” London Review of Books (December 4, 2003): 21.
70.
Claire Bishop, “Antagonism and Relational Aesthetics,” October 110 (Fall 2004), 65.
71.
Bourriaud , Relational Aesthetics, 13.
72.
Jerry Saltz, “The Long Slide: Museums as Playgrounds,” New York Magazine, Dec 4, 2011. http://nymag.com/arts/cultureawards/2011/museums-as-playgrounds/ (accessed10/09/14).
73.
Kyle Chayka, “WTF is Relational Aesthetics,” Hyperallergic (February 8, 2011). http://hyperallergic.com/18426/wtf-is-relational-aesthetics/ (accessed 21 Sept. 2014).
74.
Chika Okeke-Agulu, “Questionnaire on the Contemporary,” October 130 (Fall 2009): 45.
75.
Bourriaud , Relational Aesthetics, 13.
76.
Igor Zabel, “Manifesta 3,” Art Journal, 59:1 (2000): 20.
77.
Jan Verwoert, “Manifesta 3,” Frieze, 55 (Nov. 2000): 167.
78.
Valerie Cassel, “Cry of My Birth / Beyond Boundaries: Rethinking Contemporary Art Exhibitions,” Art Journal 59, no. 1 (2000): 4, 5.
79.
Pat McIntyre, “(More or Less) Democratic Forms Relational Aesthetics and the Rhetoric of Globalization,” Anamesa 5, no. 1 (2007): 37.
80.
Stephen Melville, “Is This Anything? or, Criticism in the University,” The State of Art Criticism, ed. James Elkins (New York: Routledge, 2008), 114.
81.
Thomas Osborne, “Against ‘creativity’: a philistine rant,” Economy and Society, Volume 32 Number 4 (November 2003): 508.
82.
Ibid.
83.
Ibid., 507.
84.
Ibid. , 519.
85.
Ibid. , 519–520.
86.
Ibid., 520.
87.
Ibid., 523.
88.
Ibid., 507.
89.
Ibid., 517.
90.
Ibid., 517.
91.
Ibid., 514.
92.
Osborne , 2003, 522.
93.
Ibid., 519.
94.
Ibid., 512.
95.
Ibid., 507.
96.
Ibid., 516.
97.
Boris Groys, “Self-Design and Aesthetic Responsibility,” E-Flux Journal no. 7 (June-August, 2009). http://www.e-flux.com/journal/07/61386/self-design-and-aesthetic-responsibility/ (accessed 1/2/17).
98.
Ibid.
99.
Ibid.
100.
Ibid.
101.
Ibid.
102.
Hannah Abdullah and Matthias Benzer, “Our Fate as a Living Corpse: An Interview with Boris Groys,” Theory, Culture & Society Vol. 28 (2011): 85.
103.
Boris Groys, “Self-Design and Aesthetic Responsibility.”
104.
Ibid.
105.
Ibid.
106.
Boris Groys, “Artistic Self- Exposure,” Frieze, Vol. 27 (April, 2011): 133.
107.
Ibid.
108.
Ibid., 134.
109.
Ibid.
110.
Ibid.
111.
Boris Groys, “Artistic Self-Exposure.”
112.
Groys , 2009.
113.
Ibid.
114.
Ibid.
115.
Groys, “Self Design” (2009).
116.
Ibid.
117.
Ibid.
118.
Groys , “On Art Activism,” (2014).
119.
Ibid.
120.
Groys , 2014.
121.
Groys , Art Power (2008), 9.
122.
Ibid., 8
123.
Ibid., 9.

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School of Arts and Social Sciences, Southern Cross University, Lismore, New South Wales, Australia
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Hill, W. (2017). The Hipster as an Entrepreneur of the Self. In: Art after the Hipster. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-68578-6_4

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DOI: https://doi.org/10.1007/978-3-319-68578-6_4
Published: 20 October 2017
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-68577-9
Online ISBN: 978-3-319-68578-6
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