Titlebook: Art, Labour and American Life; 1930–2020 Ben Hickman Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive license to

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,Doing the Work: Audre Lorde’s Warrior-Academics,workers’ struggles, primarily through recourse to the category of ‘consciousness’. I then specify the nature of this self-fashioning: the academic career, finally connecting Lorde’s particular university work with the wider tendency among academics to assume the mantle of the subject of history.

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Introduction, proceeds to this study’s year zero, modernism, outlining its two opposed responses to work, appropriation, and disavowal—finally explaining both as mystifications of actually existing labour. After some reflections on how Marx and Henri Lefevbre might help us frame such simplifications, I outline t

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,White-Collar Labour and Its Discontents: Jackson Pollock’s DIY,an engagement with the ascendant domination of white-collar work in the midcentury economy: with how it transformed everyday life, drew the very question of work into question, and changed the iconography of the worker. I propose that Pollock’s painting is rooted, in form and content, in appropriati

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Lobotomy

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,Having a Real Day of It: Grace, Time, and Pastoral in Frank O’Hara’s Work Poems,an account of O’Hara as a poet of mid-century labour, registering post-war changes in the composition of laborlabour, the transformations of lived time these occasioned, the professionalisation of the arts, and post-war New York as a city of work and an imperial centre occluding it. I begin with an

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Endurance, Time, Guilt: Housework and Performance Art,served in housework in terms of visibility, atomisation, and ambiguity, I outline the first attempts of performance art since the 1960s to render housework visible, social, and vivid, up to the end of the century. The chapter then examines the most important of these experiments, Linda Montano’s epi