{"id":931,"date":"2010-09-14T08:46:00","date_gmt":"2010-09-14T15:46:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/culturecrash\/2010\/09\/common-as-air.html"},"modified":"2010-09-14T08:46:00","modified_gmt":"2010-09-14T15:46:00","slug":"common-as-air","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/culturecrash\/2010\/09\/common-as-air.html","title":{"rendered":""Common as Air""},"content":{"rendered":"

<\/a>THE scholar and poet Lewis Hyde is a fascinating figure whose ideas about the unease of art in a market economy have developed him a cult following that includes figures like Zadie Smith, Michael Chabon and artist Bill Viola. (David Foster Wallace was also a big fan.)<\/p>\n

Hyde’s most famous and influential book — with the possible exception of Tricker Makes the World<\/i> — is The Gift: Creativity and the Artist in the Modern Word<\/i>. His new book, Common as Air: Revolution, Art and Ownership<\/i>, is, says Gary Giddins in the new Bookforum, similar:<\/p>\n

“It too, is concerned with creativity, sharing and communal property; it, too, is repetitive and larded with academic setups; it, too, peters out (Hyde has no gift for climax); and it, too, is indispensable.”<\/p>\n

<\/a><\/div>\n

I spoke with Hyde when the 25th anniversary of The Gift was released. I found him a very smart guy though I don’t agree with him completely:\u00a0We discussed the ideal bohemia, market triumphalism, and the marketplace friendly art of Andy Warhol. Here<\/a> it is.<\/p>\n","protected":false},"excerpt":{"rendered":"

THE scholar and poet Lewis Hyde is a fascinating figure whose ideas about the unease of art in a market economy have developed him a cult following that includes figures like Zadie Smith, Michael Chabon and artist Bill Viola. (David Foster Wallace was also a big fan.) Hyde’s most famous and influential book — with […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[70,35,119,233,232],"tags":[],"class_list":{"0":"post-931","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-art","7":"category-books","8":"category-chabon","9":"category-david-foster-wallace","10":"category-lewis-hyde","11":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/931","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/comments?post=931"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/931\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/media?parent=931"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/categories?post=931"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/tags?post=931"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}