Celebrity, The Romantically Primitive, Modern Art & Money: Douglas Murray’s Take On Jean-Michel Basquiat

Full piece here.

Perhaps there are enclaves in NYC’s commercial bustle where people can lead lives less burdened by the racial history of the U.S., in addition to bettering their lot.  Perhaps there are freedoms and opportunities not found in other quarters, either, which have been nurtured by this extended culture.  There are schools, like minds, and fellow artists to develop alongside.  New York City’s a cultural center, after all.

Despite the decadence and grime, the many fakes, fops, and wannabes drawn to the flame, there is genuine talent and potential genius.

There are also the temptations and realities of celebrity, the creative destruction and ruthlessness of the market, as well as ideas in the modern bubble which can actively discourage artistic development (the incentives and meta-bullshit of a lot of modern art galleries and buyers, the desire for the genius of the Noble Savage).

I believe this is Briton Douglas Murray’s (The Strange Death Of Europe) argument regarding enfant terrible of the 80’s Jean-Michel Basquiat.  Whatever natural talent Basquiat may have had, and however much the larger culture thought itself supposedly ready to celebrate such an artist, it is a mess.

Basquiat, through relentless self-promotion, found himself blown up like a balloon over 5th avenue.

Murray:

‘It was not obvious that Basquiat would end up the producer of such trophies. Born in Brooklyn in 1960, he left school at 17 and first gained attention through his co-invention, with a friend, of a character called “SAMO.” Graffiti signed with this name cropped up in SoHo and on the Lower East Side in 1978.’

and:

‘Friends claimed that Basquiat was famously independent of mind and that nobody could tell him what to do. They should at least have tried. If they had said at the outset that, instead of dealing his work, they would help him learn the skills needed to pursue it, then he might not have banged his head so visibly and continuously against his own limitations throughout his short career. Perhaps he understood that he was only getting away with something and worried when it might end. Far greater artists than he have had similar fears and been brought down by them.’

Speaking of balloons and balloon-dogs:  Within A Bank Of Modern Fog-Robert Hughes On Jeff Koons

Two quotes by Hughes that stood out:

Religion is diminished into celebrity..a kind of reverse apotheosis.

‘This alienation of the work from the common viewer is actually a form of spiritual vandalism.’

It’s tough to say that art is really about religion (though much clearly is), but rather more about an experience Hughes wants as many people as possible to have, and that such experiences can elevate and expand.

On that note, some previous links and quotes:

Donald Pittenger, at Art Contrarian, and formerly of 2 Blowhards, has been looking at modernism. From the banner of his blog:

‘The point-of-view is that modernism in art is an idea that has, after a century or more, been thoroughly tested and found wanting. Not to say that it should be abolished — just put in its proper, diminished place’

Tom Wolfe on Max Weber on one conspicuous use of art in the ‘modern’ world:

‘…aesthetics is going to replace ethics, art is going to replace religion, as the means through which educated people express their spiritual worthiness…

Somewhere apart from Medieval, Christian, Classical and pre-Enlightenment forms of authority and social hierarchy; somewhere away from the kinds of patronage, inspiration, rules, money that bent and shaped previous Art, emerged the Enlightenment and came the Romantic, Modern, and Postmodern.

***As for ideas to fill the holes, there’s definitely one path from Hegelian ‘Geist’ to Marxist class-consciousness to the revolutionary and radical doctrines found in the postmodern soup…but there are also problems with the liberation of the ‘Self’ from Schopenhauer’s ‘Will’ to Nietzsche ‘Will to Power.’

Thanks, reader:

Is street-art, or the use of graffiti & mixed-materials performed illegally out in public (on public and privately owned property) partly due to the success of capital markets?

-Banksy’s website here.

-Newsweek’s piece: ‘See You Banksy, Hello Invader.

Response To A Reader On ‘Radical Chic’ And A Link to Banksy’s ‘Dismaland’

God or no God, please deliver us from tired political philosophies:

I’d argue that it’s possible, especially with the constant cries of modernism to ‘make it new,‘  I think this is one way we’ve arrived at pop art, and the desire to blend conceptual art and popular music together.  This is in evidence from The Talking Heads to Lady Gaga to Jay Z promoting his new album alongside Marina Abramovic at MOMA.

Choose the form of your destructor:

Roger Scruton says keep politics out of the arts, and political judgment apart from aesthetic judgment…this includes race studies/feminist departments/gay studies etc.:  Roger Scruton In The American Spectator Via A & L Daily: Farewell To Judgment

Two ways around postmodernism, nihilism?: One is Allan Bloom Update And Repost: ‘A Few Thoughts On Allan Bloom–The Nietzsche / Strauss Connection’…A structure in the desert…not even a city Update On LACMA, Michael Heizer And The ‘Levitated Mass’-Modern Art And The Public;..

Denis Dutton suggests art could head towards Darwin (and may offer new direction from the troubles of the modern art aimlessness and shallow depth) Review of Denis Dutton’s ‘The Art Instinct’

From Vinheteiro: ‘Sweet Dreams Are Made Of Memes’-If You Bring Back The 80’s, Please Don’t Do It In Public

I had always thought the deep bass note is the driving force behind the song. Much like the low rumbling and deep bass sounds indicate foreboding and fear in a cinema experience.  Relentless with a hint of dread.

But then again, the chord progession is rather haunting and Annie Lennox’s vocals (top-notch) are stark and beautiful.  Maybe it’s the syncopation?

From the description (arranged for order):

I’m going with the 8-bit or the dual piano (2 and/or 4).

‘Piano version, 8 bit version, ragtime version, dual piano version or the terror version…’

The original video is mildly surrealistic 80’s shock-pop; just cheesy enough to flirt with schlock, but the combination of lyrics, story, musicality and simplicity give this song serious staying-power:

 

Don’t Call It Kitsch-If Spock Could Cry, Here, He Might Shed A Single Tear

Via Ace, you had me at ‘diamond-quilted red velvet.’

Perhaps you’re thinking that’s a standard 1978 ‘Custom Star Trek ‘boogie’ van: The kind you might see parked at a ‘Bad Company‘ concert, or maybe pulling next to you at a stoplight, blasting Journey’s ‘Wheel In The Sky‘ or  Heart’s ‘Barracuda.’

The interior certainly conjures some ‘If This Van’s A Rockin’, Don’t Come A Knockin‘ sentiment.

Move-in a little closer, however, and that sweet exterior paint-job begins to reveal mysterious depths of the human condition.

No, I’d say someone involved here has the soul of a poet.

Is Spock in possession of that bare-chested space Amazonian?

Have we, the observers, already stumbled unawares into a supreme space drama unfolding in real time?  Some potential new danger calling-up our best selves to triumph as we too gaze to the horizon along with them…to the heavens…to Dairy Queen or the gas station…to that final frontier?

Related On This Site:

Click here to experience ‘The Gobbler.

‘If you’re ever wondering what the War Room of “Dr. Strangelove” would look like if the movie had been directed by Prince, here you go.’

After taking the photo tour, I remain convinced that ‘The Gobbler’ exists in its own realm of awesome badness.  Such a shag-covered, abandoned love-child of the late 60’s and early 70’s is challenging just what I thought I knew about American culture.

==========================

Gaze long and hard into the heart of the 80’s, dear reader, and perhaps you’ll live to tell the tale:

From a reader:

‘Think Foreigner’s ‘Eye Of The Tiger’ meets a standard Journey/Eddie Money-esque power rock ballad, chock full of all the standard cliches: ‘highest fever’ ‘roll the dice’  ”new horizon’ brand new start’ ‘hit the right spot

All of this tacked onto the end of Schwarzenegger’s pure uncut 80’s sci-fi action thriller…

Almost too much to bear.

Thanks, readers:

========================

Via David Thompson, if you don’t have time to watch Gymkata, this is the next best thing.

What if an Olympic gymnast, sporting a wicked mullet, went through a rigorous training montage, then on to a top-secret mission to secure the national defense in a distant, fictitious land?

They play for keeps in Karabal:

========================

Jeff Koons and kitsch: Michael Jackson And BubblesWinter Bears and on this site: ‘St John The Baptist’.

Awesome 80’s Badness-From The Running Man: Restless Heart (Running Away With You)

From a reader:

‘Think Foreigner’s ‘Eye Of The Tiger’ meets a standard Journey/Eddie Money-esque power rock ballad, chock full of all the standard cliches: ‘highest fever’ ‘roll the dice’  ”new horizon’ brand new start’ ‘hit the right spot

All of this tacked onto the end of Schwarzenegger’s pure uncut 80’s sci-fi action thriller…

Almost too much to bear.

Thanks, readers:

————–

***Before you mock, the movie’s theme was composed by Harold Faltermeyer, of Axel F fame, and is nothing to shake a stick at.  It takes real talent to put songs into your head and keep them there.  The vocalist and performer John Parr, of St. Elmo’s Fire fame was more than a one-hit wonder as well.

As posted:

Via David Thompson, if you don’t have time to watch Gymkata, this is the next best thing.

What if an Olympic gymnast, sporting a wicked mullet, went through a rigorous training montage, then on to a top-secret mission to secure the national defense in a distant, fictitious land?

They play for keeps in Karabal:

————————

Still looking for awesome badness on this blog.  If you think you’ve got some awesome badness, preferably 80’s awesome badness, send it my way.

That’s all there is to say about that.