David L. Johnson
The enclosure of the commons—land traditionally held and used by the public—began in medieval England, and has continued ever since. In his 2014 book Stop, Thief!: The Commons, Enclosures, and Resistance, American historian Peter Linebaugh contends that the enclosure and privatisation of the commons was inseparable from England’s industrialisation, as well as the development of colonialism and the transatlantic slave trade. In other words, enclosure played a foundational role in the rise of racial capitalism—a global system of value extraction and capital accumulation dependent on what abolitionist scholar Ruth Wilson Gilmore describes as “the state-sanctioned and/or legal production and exploitation of group-differentiated vulnerabilities to premature death.” Linebaugh identifies three major waves of enclosure.
Exclusive to the Magazine
David L. Johnson by Dana Kopel is featured in full in Issue 3 of Memo magazine.
Get your hands on the print edition through our online shop or save up to 20% and get free domestic shipping with a subscription.
Related
Derek Jarman’s Blue (1993) is a film without images—just a luminous ultramarine field and an evocative soundtrack. Made as he was dying of AIDS-related illness, Blue resists spectacle, embracing abstraction, memory, and loss. Thirty years on, it continues to evolve, expanding across artists, mediums, and generations.
Emily Kam Kngwarray’s art has been claimed, framed, and re-framed—by critics, curators, and institutions alike. But what remains of the singular, personal encounter with her work?