What Are You Doing With Your Visual Imagination? Words, Images, Things & Perhaps, Something Of The World

October 21, 2019October 21, 2019 / chr1 / Leave a comment

This is not a photograph.

Well, it’s not a photograph quite abstract enough to get to mid-century American abstract expressionism, anyways.

Where did poems and paintings go, exactly, within the imaginations of many in this past generation now passing away?

Why I Am Not A Painter

I am not a painter, I am a poet.
Why? I think I would rather be
a painter, but I am not. Well,

for instance, Mike Goldberg
is starting a painting. I drop in.
“Sit down and have a drink” he
says. I drink; we drink. I look
up. “You have SARDINES in it.”
“Yes, it needed something there.”
“Oh.” I go and the days go by
and I drop in again. The painting
is going on, and I go, and the days
go by. I drop in. The painting is
finished. “Where’s SARDINES?”
All that’s left is just
letters, “It was too much,” Mike says.

But me? One day I am thinking of
a color: orange. I write a line
about orange. Pretty soon it is a
whole page of words, not lines.
Then another page. There should be
so much more, not of orange, of
words, of how terrible orange is
and life. Days go by. It is even in
prose, I am a real poet. My poem
is finished and I haven’t mentioned
orange yet. It’s twelve poems, I call
it ORANGES. And one day in a gallery
I see Mike’s painting, called SARDINES.

–Frank O’Hara

Poems require your mouth and mind to come alive. But aren’t there real things, to which these words refer within our visual memories, out in the world?

Are you lost within the peaks and valleys of the sounds, mesmerized by the singer and the song (poet and poem), as well as the underlying patterns, working upon your mind?

What are you doing with your visual imagination?

If you’re like me, maybe you just want a few minutes of pleasure; a return to when your mind (if you’re getting older) encoded sounds into a map within, during times of impressionable openness.

Strange how they stick around:

As posted: Let’s go further back, now, to a place and time which we’ve never experienced, but live partially within:

Maybe it’s Pilgrim’s pride, or perhaps the Puritan pursuit of image-less purity, or the Colonialists ecumenical style, or maybe even some Shaker weirdness that finds itself up for analysis.

Perhaps somewhere there’s a spare, Yankee work ethic resting on a simple, wooden shelf in the ‘American mind.’

Could such a thing be discovered within mid 20th-century modernism?

Robert Hughes takes a look at Donald Judd’s ‘Temple Of Aesthetic Fanaticism,’ and Richard Serra’s nod to Jackson Pollack and abstract expressionism in the rawness of material sculpture. You know, making stuff (a potentially sensitive subject with so many technological changes going on right now).

(link may not last):

As for Land Art, Michael Heizer’s life’s-work land-art project is apparently complete, if such a thing can be complete:

There’s a good piece in the New Yorker here.

There is an air of secrecy about the whole thing.

You can’t even visit?

Apparently, Heizer’s been working since 1972 on this sculpture in the Eastern Nevada desert, which was originally called ‘Complex One.’ It’s morphed into his life’s work, called City. It’s very large. It can’t be moved. You can’t reproduce it. It represents a break from traditional sculpture. It can’t be put in a museum and it’s not clear that it has a function.

In Brasil, they just started from the top-down and built a city that doesn’t work that well for people: Brasilia: A Planned City

——————

I have to confess that seeing that structure upon the wide open emptiness of Eastern Nevada is comforting for the familiarity it brings. It’s a little bit of order upon the unknown, and the design, or lack thereof (about which a man may wonder), within Nature herself. I think this is why a military installation out in the desert can captivate the imagination as it’s been known to in Hollywood and in the public mind (dreaming of aliens and conspiracies).

To expand on that theme, Wallace Stevens might shed some light. He was an American poet on the hinge between Romanticism and Modernism:

Anecdote of the Jar

I placed a jar in Tennessee,
And round it was, upon a hill.
It made the slovenly wilderness
Surround that hill.

The wilderness rose up to it,
And sprawled around, no longer wild.
The jar was round upon the ground
And tall and of a port in air.

It took dominion every where.
The jar was gray and bare.
It did not give of bird or bush,
Like nothing else in Tennessee.

–Wallace Stevens

You’ve changed all of nature with just one jar.

What do you do with an uncivilized, wild land? Import European learning and literature “atop” it? Christian tradition and the Natural Law? Import the triumph of the Western mathematical sciences and technology? Import its movements of the arts and the individual artist?

You can’t help but do this.

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

Denver’s Devil Horse may be flirting with kitsch: From The Wall Street Journal: Denver’s Mustang Or ‘Devil Horse’…and I like his work:…Joan Miro: Woman

From Grist.Org Via The New Republic Via The A & L Daily: ‘Getting Past “Ruin Porn” In Detroit’…Marketplace aesthetics in service of “women”: Dove’s Campaign For Real Beauty: Pascal Dangin And Aesthetics… Roger Scruton In The City Journal: Cities For Living–Is Modernism Dead?…Brasilia: A Planned City

Repost-Modern Land Artists Point You Back To Nature, Placing You In Time, But Whose ‘Now’ Is This, Man? What Is Nature, Exactly?

February 19, 2019 / chr1 / Leave a comment

Paul Wood discusses the works of Robert Smithson (Broken Circle, Spiral Hill) and Richard Serra (Fulcrum, Spin Out):

Land-art pieces are site-specific. They require you to be there and experience them, designed as they are to be within the specific spaces they occupy.

In so doing, they break from previous modernist ‘Readymades‘ and reproduced images (I don’t know about you, but I’m tiring of so many commentaries on consumerism, the desire for craft over mass production, a certain collective vagueness against such disposability…the dream of unique Selfhood, celebrity even, amidst a thousand urinals).

As a viewer, you’re supposed to interact with these pieces and start feeling and thinking differently than perhaps you might have otherwise. Walk around, through, and over them. View one hillock from another. Walk back over to the first hillock and look from whence you came. The view is never quite what you were imagining.

Clap inside of Serra’s ‘Vortex:’

Time is clearly intended to be an element, here; the long sweep of geologic and/or historical time as the artist understands it, as well as the relative brevity of personal time during just a 10-minute visit.

These pieces can act as signposts towards Nature and what we can begin to observe of our specific natural environments (steel rusts in unique, but perhaps underlying, patterns…winds blow at different angles and around different obstacles in one grove as opposed to another, these lichens are growing here…other lichens over there, are they the same species?).

If you pull the piece out of its specific environment, it may just wither and die, looking out-of-place as many other products of civilization do amidst natural settings (a jar in Tennessee). Perhaps, though, they won’t look quite so out-of-place as mass-produced objects because of such careful design and attention to detail.

That said, these pieces will eventually look quite awkward undergoing the changes they will undergo if Nature’s Laws are any guide (Romantic/Modernist recreations of Nature can promise the comforts of Home).

Here’s Wikipedia, keeping it simple:

‘Land art, earthworks (coined by Robert Smithson), or Earth art is an art movement in which landscape and the work of art are inextricably linked.’

From the video description:

‘Robert Smithson and Richard Serra both believed that sculpture should have a dialog with its environment. This program explores the challenging dialectic of the site-specific sculpture of Smithson and Serra through examples of their work. In an interview, Serra discusses the aspects of time and context in relation to his art as well as the influence of Smithson.’

Maybe it’s worth pointing out that Serra seems interested in symmetry, visualizing and realizing abstract shapes with the help of some mathematics and the practice of drawing/drafting. Interesting problems can arise from tooling around with shapes on paper (a practice of Serra’s), the kind I’m guessing folks fascinated by puzzles and software and math love to solve.

But Serra’s not a mathematician nor an engineer nor an architect. He’s not writing a proof for its own sake nor building bridges nor houses for practical use.

Rather, the intuitive and creative impulses of the artist take over in his work, a kind of creative exploration, as well as the dialog between fellow artists, living and dead.

Much (A)rt, of course, is useless for most, if not all, purposes. It’s one of the things that can make it meaningful for people. There can be a significant gap between what the artist may have felt, thought and realized, and which emotions, thoughts and experiences any viewer/listener might have in interacting with a particular piece.

Serra, in his work, wants to alter the thinking of anyone moving through the space he creates by manipulating specific substances like steel (he has a facility with the material), and by getting viewers to a point of reorientation of spatial and temporal awareness.

Of course, this involves reorientation towards certain ideas as he understands them, and by promising people a return to themselves, or a state of experience and creative play perhaps similar to that of the artist.

Here’s a Charlie Rose interview:

More about Land Artists:

Any thoughts and comments are welcome. Feel free to highlight my ignorance…

Related On This Site:A structure in the desert…not even a city Update On LACMA, Michael Heizer And The ‘Levitated Mass’-Modern Art And The Public

No thanks to living in planned communities upon someone else’s overall vision.: Roger Scruton In The City Journal: Cities For Living–Is Modernism Dead?…

Modern Art For Sale In The Middle-East-From The New Yorker: ‘Richard Serra In the Qatari Desert’

A Few Thoughts On Thomas Cole’s ‘The Voyage Of Life’

August 13, 2016August 16, 2016 / chr1 / 4 Comments

A good decade ago, while visiting D.C., I saw Thomas Cole’s ‘The Voyage Of Life:‘

It’s a four-part series: Childhood, Youth, Manhood, Old Age.

One person’s life, and all of our lives, can be broken-down into four allegorical stages, pregnant with visual and universal symbols.

From Cole’s bio:

‘Although Cole had ample commissions in the late 1820s to paint pictures of American scenery, his ambition was to create a “higher style of landscape” that could express moral or religious meanings.’

From this more interactive page:

‘In the late 1830s, Cole was intent on advancing the genre of landscape painting in a way that conveyed universal truths about human existence, religious faith, and the natural world. First conceived in 1836, the four pictures comprising The Voyage of Life: Childhood, Youth, Manhood, and Old Age fulfilled that aspiration.’

These scenes in the Romantic style can have an emotional pull for me, as generally does the work of the Hudson River School. Such allegory certainly tends to function as a vehicle into memory (Cole’s work has really stuck with me…in a sort of haunting way, mixed with some thought of how I’m supposed to live and what might be coming next).

Also, the wild, untamed nature we Americans have often faced is perhaps requiring of a spirited and grand attempt at putting our experiences within Nature into some context: To soar as high as our hopes often do.

Or at least, to find in paintings: Familiarity. I like to see the roll of a hill like I’ve seen, or an opening of clouds, sky and light like I’ve seen.

Perhaps Wild Nature can be ordered in a Romantic, neo-classical or more modern way. Perhaps Nature can be made, with the tools at our disposal, to conform to some of our deeper ideas about Nature, mirroring our hopes in some recognizable fashion; giving some basic comfort and meaning.

Maybe, after all, we can find a home here.

On the other hand, allegory with overt moral/religious meaning can also come across as heavy-handed, sentimental, and moralistic. Too lush and pretentious; perhaps a bit anachronistic.

Do I really have to hunt for all the symbols and put the puzzle together?

‘So, you’re going to reveal universal truths, eh?’

—

This can seem distant from the experiences of the modern viewer, often finding himself a little further down the modern/postmodern ‘river’, where such attempts at universality might seem a wash.

Much more common these days are the very personal shards and glimpses of the inner life of an artist, attached to high ambition and great talent surely in some cases; as well to form and tradition, but generally making less bold claims to knowledge than ‘The Voyage Of Life‘.

In painting, I’m reminded of the abstract expressionist movement seeking meaning in reducing experience to the abstract in order to reveal something essential within Nature, or essential about our relationship to Nature: A transcendent place where shape, form and color can be isolated from anything immediately recognizable in the world.

Or maybe, I’m being too generous?

‘The movement’s name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus, and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.^[5] In practice, the term is applied to any number of artists working (mostly) in New York who had quite different styles, and even to work that is neither especially abstract nor expressionist.’

The exploration of the Self is often pursued, as well as that of Nature, but the general hope that it might all make sense (life, death, Nature, purpose etc) in many more modern movements is often left abandoned.

Or so often, as we’ve seen in the past few generations: The pursuit of The Self can easily become subsumed to the pursuit of fame, celebrity, and money.

***

Towards a theme: Perhaps you’ve also heard of the Rothko chapel, in Houston, Texas.

Mark Rothko undertook the idea that within the modern context, one could create temples of universal meaning through aesthetics, art, and beauty:

‘The Rothko Chapel, founded by Houston philanthropists John and Dominique de Menil, was dedicated in 1971 as an intimate sanctuary available to people of every belief. A tranquil meditative environment inspired by the mural canvases of Russian born American painter Mark Rothko (1903-1970), the Chapel welcomes over 60,000 visitors each year, people of every faith and from all parts of the world.’

There’s even a suite of music by Morton Feldman, entitled ‘Rothko Chapel’

See Also On This Site: Trying to stick something against his poems: Wednesday Poem: Wallace Stevens-Anecdote of The Jar…Wednesday Poem: Wallace Stevens, The Snow Man…Friday Poem: Wallace Stevens And A Quote By David Hume

Some Updated Links On Postmodernism

Repost: From The NY Times Via A & L Daily: Helen Vendler On Wallace Stevens ‘The Plain Sense Of Things’

Some Sunday Songs-Metal, Myth, American Romanticism And The Civil War

Within A Bank Of Modern Fog-Another Link To Robert Hughes On Jeff Koons

Modern Art For Sale In The Middle-East-From The New Yorker: ‘Richard Serra In the Qatari Desert’

April 22, 2014April 23, 2014 / chr1 / 2 Comments

Full post here.

Click through for a Serra-released photo of four metal pillar-forms aligned in the deserts of Qatar, designed to inevitably rust. The piece has a slight ‘2001: A Space Odyssey‘ feel, but that could just be me.

‘The Qatar Museums Authority is estimated to spend about a billion dollars per year on art. At its head is the young Sheikha al-Mayassa Hamad bin Khalifa al-Thani, a sister of the Emir of Qatar and a Duke University graduate, who was recently named the most powerful person in the art world by ArtReview.’

Get while the getting is good, so long as the Sheiks have the dough.

Serra is a quite accomplished modern artist and sculptor often working in the ‘land-art,’ category, or site-specific pieces interacting with the viewer and the natural surroundings. Check out Hyperallergic’s visit to ‘Shift,’ a series of concrete forms he left in an Ontario field.

Here’s Serra discussing a piece of his at 21 West Gagosian, or a densely-packed, carefully measured series of metal forms in a room. What does the viewer experience in this space?:

—————————-

Serra, I think, more than other land-artists, turns that discussion a little more inwards, towards the abstract, the body moving through a space of his design as he tries to bring something across to the viewer.

Or so says me.

Interview with Serra here.

Also, what’s with all that Gulf oil money buying-up modern art?:

As to politics, James Panero had a piece on Qatar:

‘On the one hand, Qatar’s art initiatives can be seen as a modernizing force, one that could liberalize the tribal attitudes of the country’s native population and pave the way for further political reform. On the other hand, contemporary art may merely serve as a cover for further repressive policies.’

On another note, that of land-art, Robert Hughes took a look at the work of Michael Heizer, who’s been working since 1972 on a sculpture in the Eastern Nevada desert, which was originally called ‘Complex One.’ It’s morphed into his life’s work, called City. It’s very large. It can’t be moved. You can’t reproduce it. It represents a break from traditional sculpture. It can’t be put in a museum and it’s not clear that it has a function. See more on Hughes take on it from his series, “Shock Of The New” which includes some aerial shots (from 00:45 to 5:30):

Is modernism now our culture?:

——————————–

MOMA is private, so perhaps it’s not as decadent if they display Tilda Swinton in a box:

Tilda Swinton At MOMA-From Arma Virumque: ‘Nightmare In A Box’

Repost-Via Reason: ‘Salvador Allende’s Cybersocialist Command Center’

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;..

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

Goya’s Fight With Cudgels and Goya’s Colossus. A very good Goya page here.

Joan Miro: Woman… Goethe’s Color Theory: Artists And Thinkers…

From Arch Daily Via Readers: ‘From Psychopath Lairs to Superhero Mansions: How Cinema and Modernist Architecture Called A Truce’

February 12, 2014February 14, 2014 / chr1 / 4 Comments

Full piece here.

Addition: A lair in the California desert that looks a bit sci-fi. It doesn’t get much more modern than that.

Wouldn’t you still rather have Monticello?

‘We all know that psychopaths prefer contemporary design. Hollywood has told us so for decades. The classic film connection between minimal interiors and emotional detachment (see: any Bond adversary) or modern buildings and subversive values is well documented – and regrettable. The modernist philosophy of getting to the essence of a building was intended to be liberating and enriching for the lives of occupants. Hardly fair then that these buildings are routinely portrayed with villainous associations.’

Have you seen the Mt. Rushmore house at the end of North By Northwest? I suspect some among us have wanted to live in a modernist lair.

From an article in Der Spiegel on the Bauhaus, where modernism got its start:

‘The real feat achieved by Gropius and his cohorts was to have recognized and exposed the sociopolitical and moral power of architecture and design. They wanted to exert “effective influence” on “general conditions,” fashion a more just world and turn all of this into a “vital concern of the entire people.”‘

I’m always a little skeptical of such grand visions. Utopianism runs deep.

Speaking of cinema, this blog hasn’t given up on searching for awesome badness, preferably 80’s awesome badness. I simply offer the following scene from Gymkata, which encapsulates good and evil, gymnastics and karate, foreign policy and an American national greatness since sunken into ironic detachment and doubt:

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–Want to lose an afternoon? Visit Lileks.com. A fine humorist with a sharp pen and a keen eye. This is what the internet is for.

Related On This Site: They designed a city in the heart of Brazil that really doesn’t work for people: Brasilia: A Planned City

No thanks to living in planned communities upon someone else’s overall vision.: Roger Scruton In The City Journal: Cities For Living–Is Modernism Dead?…Repost-Via Reason: ‘Salvador Allende’s Cybersocialist Command Center’…From Grist.Org Via The New Republic Via The A & L Daily: ‘Getting Past “Ruin Porn” In Detroit’…

A structure in the desert…not even a city Update On LACMA, Michael Heizer And The ‘Levitated Mass’-Modern Art And The Public;..where is modernism headed? Via Youtube: Justin, The Horse That Could Paint…

Roger Scruton In The American Spectator: The New Humanism…From Nigel Warburton’s Site: A Definition of Humanism?…From The City Journal Via Arts And Letters Daily: Andre Glucksman On “The Postmodern Financial Crisis”

Update And Repost- From YouTube: Leo Strauss On The Meno-More On The Fact/Value Distinction?’ Classical Liberalism Via Friesian.Com-’Exchange with Tomaz Castello Branco on John Gray’

In The Mail: Vivian Maier

November 16, 2013November 16, 2013 / chr1 / 1 Comment

Site here.

You may have already heard this mystery photographer’s story, if not, take a look.

Just a link for all the unknown photographers out there, documenting the grit and stuff of life.

Addition: I should clarify on behalf of a friend, that when the subject can be difficult to look at, the below quote about Walker Evans’ work might come in handy.

Art for art’s sake:

‘Many artists during the New Deal era wished to portray the poor to gain empathy and support for the experimental political program. Agee and Evans, however, saw this as a crude and manipulative practice, and defied it by “respecting the moral integrity of the poor while recognizing in these tenants something transcendentally human, making them more than just the tools of political propaganda,” said Jones. ‘

Well, good.

Continuing on that theme, Ken Burns discusses how he is primarily an artist, not an historian. Burns wants to be recognized as an artist striving for higher aesthetic and technical goals in his work (his influences range from Martin Scorsese to Henri Cartier-Bresson) in addition to the “social conscience.”

As for such an abstraction as a ‘social conscience’ he sees himself:

“…rooted in a humanist tradition of American History..that includes not just the old top down version, but the bottom up version that acknowledges women and labor and minorities….”

No wonder some folks at NPR love him. Here’s libertarian Nick Gillespie needling Burns about that issue.

———————————————-

Here’s a poem by beloved American modernist/physician whose work I had never associated with any sort of political philosophy, and which I still don’t while addressing his work:

Pastoral

When I was younger
it was plain to me
I must make something of myself.
Older now
I walk back streets
admiring the houses
of the very poor:
roof out of line with sides
the yards cluttered
with old chicken wire, ashes,
furniture gone wrong;
the fences and outhouses
built of barrel staves
and parts of boxes, all,
if I am fortunate,
smeared a bluish green
that properly weathered
pleases me best of all colors.
No one
will believe this
of vast import to the nation

–William Carlos Williams

Art for its own sake.

As that same friend points out. Bill Moyers, “working-man” populist though he is, strives for journalistic excellence. But as for history, perhaps no one should aim for a Zinn-like state.

Philosopher Of Art Denis Dutton of the Arts & Letters Daily says the arts and Darwin can be sucessfully synthesized: Review of Denis Dutton’s ‘The Art Instinct’

How might Nietzsche figure in the discussion, at least with regard to Camille Paglia. See the comments: Repost-Camille Paglia At Arion: Why Break, Blow, Burn Was Successfu l…Here’s Nietzsche scholar J.P. Stern on Nietzsche’s anti-Christian, anti-secular morality (Kant, utilitarians), anti-democratic, and anti-Greek (except the “heroic” Greek) biases…

Repost-From NPR: Grants To The NEA To Stimulate The Economy?

Goya, that modern, had to make a living from the royal family: Goya’s Colossus…Goya’s Fight With Cudgels…

A Reaction To Jeff Koons-For Commerce Or Contemplation?

March 28, 2013December 29, 2014 / chr1 / Leave a comment

—————–

Koons’ site here. Part 1 of a 5-part documentary above.

I often find myself reacting to modern art and pop art, like many people, with my bullshit detector continually sounding at a low buzz. Are these great artists? What has happened at the intersection between art, money, and media in the ‘modern’ world? Is there any ‘there’ there?

Koons’ Made In Heaven only amplifies that sound, blurring the line between art and porn, private experience and public show, innocence (so easily corrupted) and naive, narcissistic indulgence.

I suspect Made In Heaven explores previous themes of high and low that were already emerging in his kitsch work, fleshed out in pieces like Michael Jackson And Bubbles, Winter Bears and on this site: ‘St John The Baptist’.

Excellent photo found here…gps1941 photostream here. More on the original St. John The Baptist here.

This is kitsch par excellence, exquisitely rendered. I admit that I can still break out into laughter while staring at it, admiring Koons’ ability to use his materials to realize a very particular concept, and to execute that concept and evoke what might even be a particular emotion in onlookers. The quality and finish of these pieces is high and Koons works in various materials, including porcelin, metal, wood, and mixed media. Like Warhol, he’s set up a studio with workers churning out his art. There is no doubt some genuine artistic ability there, creative imagination, vision, and devotion to his craft.

Great art?

On what he was trying to achieve:

‘This type of dislocated imagery is what motivates people. They’re amused by it, but they have a lot of guilt and shame that they respond to it. I was trying to remove that guilt and shame.’

Another quote which highlights an idea of some import to the nation:

‘Coming from a suburban, middle-class background, as he did, he felt that there was something, if not dignified, at least, too easily discarded about this kind of imagery and this kind of sentiment.’

In a way, Koons could be seen as quintessentially American, taking the country, its lack of refinement as an artist might see it, its marketing and advertising, the products of its egalitarian spirit and consumer culture into his embrace. By recalling his own experiences and trying to provide deeper context (and by constantly self-promoting), he certainly has a commitment to America. This raises questions of perpetual interest to those who see their duty in making, criticizing, curating, buying and enjoying art. It also coincides with a larger movement.

From the video:

‘I think that Warhol, as radical as he seems, still very much prized the idea of originality at the core of his working process, and it’s hard not to see him as being a very original artist in that sense. The idea of Koons rejecting all originality, I think, is central to understanding what his work was about.’

and:

‘The way Andy predicted celebrity, Jeff predicted branding.’

I don’t doubt for a second there’s a bright, aesthetically inclined teenager out there laying under the illuminating glow of a Thomas Kinkade signed print.

As posted before, Camille Paglia is a child of the 60’s, wants better art education, and is sympathetic to themes found on this blog:

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Such artistic impulses also have to deal the rest of America’s bustle and mass culture. Some of our best-known exports to the world are made by groups of us here at home, organized in certain ways. Examples abound, from Hollywood movies to McDonalds and Starbucks to our politics to Mars exploration, but we Americans have a real talent for this kind of thing, and Koons seems to be trying to hold up a mirror to our desires and the culture. Naturally, this creates tension between the individual and the society, what kind of society we have, and what kind of society we ought to have.

Here’s another quote from the video:

‘Koons like to fill things, blow them up, and make his own breath last forever. He’s interested in eternity, in immortality.’

That’s probably worth thinking about.

***Robert Hughes wrote a review for Time entitled the “Princeling Of Kitsch.”

***The day that Damien Hirst put up his works, selling them for $111 million dollars, the market crashed.

Related On This Site: Martha Nussbaum wants to take religion out of the laws, and also has ideas about shame and disgust. I’m not necessarily convinced by the type of secular moral thinking she wants to guide society. From The Reason Archives: ‘Discussing Disgust’ Julian Sanchez Interviews Martha Nussbaum

…From The City Journal Via Arts And Letters Daily: Andre Glucksman On “The Postmodern Financial Crisis”

Goya’s Fight With Cudgels and Goya’s Colossus. A very good Goya page here.

Joan Miro: Woman… Goethe’s Color Theory: Artists And Thinkers…Some Quotes From Kant And A Visual Exercise

A Reaction To Jeff Koons ‘St John The Baptist’

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’

Repost-Via Reason: ‘Salvador Allende’s Cybersocialist Command Center’