{"id":13233,"date":"2026-07-12T16:32:23","date_gmt":"2026-07-12T16:32:23","guid":{"rendered":"https:\/\/culturalleft.org\/cl\/2026\/07\/12\/the-work-of-art-creativity-and-labour-under-capitalism-reviews-culture-socialist-worker\/"},"modified":"2026-07-12T16:32:23","modified_gmt":"2026-07-12T16:32:23","slug":"the-work-of-art-creativity-and-labour-under-capitalism-reviews-culture-socialist-worker","status":"publish","type":"post","link":"https:\/\/culturalleft.org\/cl\/2026\/07\/12\/the-work-of-art-creativity-and-labour-under-capitalism-reviews-culture-socialist-worker\/","title":{"rendered":"The work of art\u2014creativity and labour under capitalism Reviews & Culture – Socialist Worker"},"content":{"rendered":"
\"Olive\n

Olive setting up her end of year exhibition at college<\/p>\n<\/div>\n

Art can be \u00adsubjective, \u00adobjective, important and boring all at the same time. When I started making art as a \u00adrevolutionary \u00adsocialist, I wanted to make art that advanced the class struggle.<\/p>\n

I realised that I was one of \u00admillions who\u2019ve tried to do this\u2014but I also understood that the art world is truly a \u00adcapitalistic \u00adinstitution. There is more to what drives \u00adartists than just creativity.<\/p>\n

Art has been a constant feature of society throughout human history.<\/p>\n

Long before markets, money or states, humans were creating images and objects that carried meaning beyond material necessity.<\/p>\n

The impulse to create appears to be as old as humanity itself. Capitalism encourages us to think that people are f\u00adundamentally \u00admotivated by money and \u00adself-interest. But the existence of art suggests otherwise.<\/p>\n

We are not driven by profit because it is somehow encoded in our nature, we are driven by it because we live in a system where money is necessary for survival.<\/p>\n

Art often operates according to a different logic. For most artists, making art does not lead to wealth. Yet people continue to paint, write, sculpt, photograph, perform and create.<\/p>\n

So, if art is not economically \u00adnecessary, why does it exist?<\/p>\n

It is because art reveals something \u00adprofound about human nature. It serves \u00addifferent purposes. It reveals something \u00adfundamental and is part of how we understand \u00adourselves and the world.<\/p>\n

Art is part of our capacity to \u00adimagine, communicate, preserve memories and express ideas. Humans do not simply want to survive, we want to find meaning, pleasure and beauty in what we do.<\/p>\n

So why did I think I could be the one to change the art world?<\/p>\n

As Marxists, we know that ideas do not appear out of nowhere. The belief that an individual artist can transform society through their work is a historical product.<\/p>\n

Modern understandings of art emerged during the Renaissance in Europe between the 15th and 17th centuries. It emphasised humans, observation, science, and the \u00admaterial world. And it became a\u00adssociated with individual creativity, skill and the human experience.<\/p>\n

The Renaissance \u00adestablished the modern conception of the artist as an individual genius. As \u00adcapitalism developed, this figure became \u00adseparated from the artisan or craft worker. Artistic production became more closely aligned to markets.<\/p>\n

Despite this celebration of \u00adindividuality, capitalism has a \u00adprofoundly limiting effect on a\u00adrtistic expression. Art is often treated as un\u00adproductive, meaning \u00adartistic a\u00adctivities are not rewarded in the same way as traditional wage labour.<\/p>\n

Capitalism is driven by endless accumulation. We sell our labour in exchange for a wage. And our labour is valued \u00adaccording to what it produces and how efficiently this is done.<\/p>\n

What allows different co\u00admmodities to be exchanged is the labour embodied within them.<\/p>\n

Under capitalism, workers are paid for their labour power, but the value they create typically exceeds the wages they\u2019re paid. This \u00addifference is what Karl Marx called \u00adsurplus value, the source of profit.<\/p>\n

Art occupies an uneasy \u00adposition. Its value cannot be measured as easily as other forms of labour. As a result art is frequently sidelined, underfunded and dismissed.<\/p>\n

The art world and capitalism rely on precarity to devalue creative labour whilst profiting from it.<\/p>\n

Marx viewed labour as the \u00adfundamental way humans \u00adinteract with nature. Under capitalism, he argued labour is turned into a \u00adcommodity, leading to exploitation and the \u00adseparation of workers from what they produce.<\/p>\n

Art is not exempt from this. Creativity is viewed as its own reward, meaning artists are expected to accept \u00adconditions that others would reject. Requests to work for exposure and poorly paid or unpaid \u00adcreative jobs are commonplace.<\/p>\n

Artists are encouraged to believe that economic \u00adcompensation isn\u2019t important. The result is that many artists struggle to identify \u00adthemselves as workers with \u00adcollective interests. One of the biggest \u00adarguments in the Marxist understanding of art is whether or not artistic labour is alienated.<\/p>\n

For Marx, alienated labour is labour in which workers lose control over what they produce, how they produce it and their \u00adrelationships with themselves and others.<\/p>\n

Understanding this provides a way of thinking about the \u00adrelationship between work, power and \u00adidentity. Marx\u2019s concept is a \u00adcritique of social conditions that separate people from control over their lives.<\/p>\n

Under capitalism the artist is a worker, because, unless they \u00adinherited a trust fund, they have to feed themselves like the rest of us.<\/p>\n

Artistic trends and movements do not emerge in a vacuum. Art has always reflected the inequalities that shape the rest of society. Wealthy collectors, institutions and investors have a \u00addisproportionate ability to shape tastes and \u00addetermine which art is rewarded.<\/p>\n

This does not mean artists are puppets of the ruling class. Artists frequently challenge dominant ideas and resist commodification. However, they do so within a system where visibility, funding and success are tied to the preferences of those who possess economic power.<\/p>\n

The result is a contradiction\u2014art is celebrated as a sphere of freedom and creativity, yet artistic \u00adproduction remains constrained by the demands of the market.<\/p>\n

From a Marxist perspective, \u00adartistic labour becomes alienated when it is transformed from an end in itself into a means of producing commodities. <\/p>\n

During the Renaissance, as \u00adartistic production became \u00adincreasingly independent from \u00adreligious and aristocratic \u00adpatronage, many artists turned towards \u00adexperimentation and opposition.<\/p>\n

Many of those we now \u00adcelebrate as visionary artists were not received so warmly b contemporaries. What appears radical in one moment can later become accepted, institutionalised and commodified.<\/p>\n

Capitalism is a remarkably dynamic system. Its ability to absorb and \u00adcommodify almost everything it encounters extends to \u00adresistance itself.<\/p>\n

Rather than \u00adsuppressing \u00adopposition, capitalism often \u00adtransforms it into something that can be bought, sold and consumed.<\/p>\n

Political \u00adresistance becomes an \u00adaesthetic. It is detached from the social movements that produced it.<\/p>\n

This extends into the art world. It is now normal to see \u00adanti-capitalist, anti\u2011colonial, \u00adfeminist, queer or environmental art critiques.<\/p>\n

This reveals capitalism\u2019s capacity to accommodate criticism at one level without altering the social relations that the criticism targets.<\/p>\n

Artists cannot by themselves take down capitalism or replace working class organisation. But that does not mean they are not important.<\/p>\n

We are creative beings. We tell stories and imagine futures. Art\u2019s power lies not in \u00adreplacing collective struggle but in \u00adcontributing to it.<\/p>\n

Ultimately, the struggle for a \u00adsociety beyond capitalism is not simply a struggle over wages, \u00adownership, or the organisation of production. It is a struggle over what it means to live fully human lives.<\/p>\n

Creativity is not an optional extra. It is part of what makes us human.<\/p>\n

Read More<\/a><\/p>","protected":false},"excerpt":{"rendered":"

Olive setting up her end of year exhibition at college Art can be \u00adsubjective, \u00adobjective, important and boring all at the same time. When I started making art as a \u00adrevolutionary \u00adsocialist, I wanted to make art that advanced the class struggle. I realised that I was one of \u00admillions who\u2019ve tried to do this\u2014but...<\/p>\n","protected":false},"author":1,"featured_media":13234,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-13233","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"\nThe work of art\u2014creativity and labour under capitalism Reviews & Culture - Socialist Worker - Cultural Left<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/culturalleft.org\/cl\/2026\/07\/12\/the-work-of-art-creativity-and-labour-under-capitalism-reviews-culture-socialist-worker\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The work of art\u2014creativity and labour under capitalism Reviews & Culture - Socialist Worker - Cultural Left\" \/>\n<meta property=\"og:description\" content=\"Olive setting up her end of year exhibition at college Art can be \u00adsubjective, \u00adobjective, important and boring all at the same time. 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