By Clive Hamilton, Richard Denniss

Our homes are higher than ever, yet our households are smaller. our children visit the simplest colleges we will have the funds for, yet we infrequently see them. We’ve bought extra money to spend, but we’re extra in debt than ever sooner than. what's going on?

The Western global is within the grip of a intake binge that's distinct in human historical past. We aspire to the life of the wealthy and well-known on the price of relations, pals and private fulfilment. premiums of rigidity, melancholy and weight problems are up as we combat with the vacancy and unending disappointments of the shopper life.

Affluenza pulls no punches, claiming our entire society is hooked on overconsumption. It tracks how a lot Australians overwork, the turning out to be mountains of stuff we throw out, the medication we take to ‘self-medicate’ and the genuine that means of ‘choice’. thankfully there's a healing. an increasing number of Australians are determining to disregard the advertisers, decrease their purchaser spending and recapture their time for the issues that truly topic.

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Extra resources for Affluenza: When Too Much is Never Enough

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2 cm. The Andy Warhol Museum, Pittsburgh. but to no avail; by then the style was passé. He also tried neoDadaism in the Rauschenberg manner, which got him nowhere fast. Then he painted Coke bottles and similar artefacts drawn from mass-culture but did so in a sloppy expressive manner that didn’t hit the visual spot either. Around the same time he explored comic-strip images, until he found out that Roy Lichtenstein had beaten him to the draw on that one too. So where could he go next, he asked himself with increasing desperation?

Art © Jasper Johns/Licensed by VAGA, New York, NY Robert Rauschenberg, Bed, 1955. 3 cm. Museum of Modern Art, New York. qxp 11/21/2008 2:30 PM Page 36 generated the freewheeling spatiality apparent throughout his work. Yet this has not only resulted in pictorial enhancement; since the 1980s an involvement with real space has been evident in his work, for the artist has become utterly entranced by the excitement and beauty of the Space Age. The results have been works that have at their heart the technological complexities of rocketry, the implied movement of those giant machines and the human dimensions of space exploration.

His concealment of that authentic side to himself was entirely in keeping with the way he worked hard to appear mindless and robotic after 1963, for he was anything but brainless and mechanical. That he was aware he masked his true self is proven by another late series of works, his Camouflage SelfPortraits (page 180), for camouflage serves no other purpose than to cloak what is real. Of all the artists who have contributed to the Pop/MassCulture Art tradition, it seems valid to claim that Warhol was one of the most thematically varied, visually inventive and humanly insightful, which is why he has been accorded so much space here.

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