Repost-Do Not Be Ashamed-Some Links On Mankind, Nature & God: Wendell Berry & Jeff Koons

Guilt and shame are the primary teaching tools of the old religion and the new, woke religion. If you don’t care, no one can make you care. This leaves many sociopaths with competitive advantage. For the rest of us, being an asshole to the ones you love and with whom you deal isn’t a laudable goal. As much as this is true, decent people have to strike a balance. Sometimes, when you think you have the truth, you must speak that truth, even to loved ones and even when it hurts.

You also need to hear the truth. This hurts, too. It’s really one of the only ways to make your life better and deal with the problems you have. Growth isn’t possible without it.

In the public square, I believe it’s necessary to fight against the true-belief of zealots and fools, while doing my best not to become either of these things myself. What truth I might have to tell, should be told. This [often] puts me on the side of religious liberty and tradition in the good old U.S. of A.

Sometimes it puts me on the side of (S)cience and (R)eason.

Such skepticism also recognizes the danger of bad ideas. A lot of people will find the framework of radical resentment to be sufficient in their lives.

Guilt and shame are also how ideologues make headway. This has consequences for all of us:

Below is a poem by Wendell Berry. Berry is chiefly agrarian, anti-technology and pro-environmental in his outlook. He’s also a traditionalist, who believes family and local associations come first.

For Berry, (M)an must return to family, traditional values and to the Earth. Technology corrupts and while business might scale, both create alienation and unrooted individuals.

Of course, a return to (Man) and (N)ature is not an uncommon view amongst poets, especially since the Romantic Poets in England. Around that time, (M)an, instead of God, became one of the highest things around. Serving the poor and dispossessed is the work of those who care about (H)umankind. Oh, how some people care. Man, did mad, bad Byron care.

It’s a mixed bag.

Here is a tweet by a MoMA curator of Architecture & Design. I mean, she’s Italian and likely has fellow-feeling for the guy, and he probably saved a lot of lives under rough circumstances, but….you know.

I worry about ‘maestros of humanity,’ because the same old human nature and reality await. In the meantime, what kind of world we live in has a lot to do with how well our maps of human nature and reality align with….human nature and reality.

Beneath Humanism and the sentiment now being extended to all living things (except the bugs we’ll all eat while singing Kum-ba-ya), are a lot of unsavory characters, ideologues, and future politicians.

To my mind, making heroes out of men, necessary though it is, often leads to disappointment; a reasonable part of life. Making something like a religion out of (H)umanism seems to be a permanent feature of ‘modern’ life, and a much deeper problem.

One thing Berry seems to be saying: A route to truth lies in overcoming shame.

Do Not Be Ashamed

You will be walking some night
in the comfortable dark of your yard
and suddenly a great light will shine
round about you, and behind you
will be a wall you never saw before.
It will be clear to you suddenly
that you were about to escape,
and that you are guilty: you misread
the complex instructions, you are not
a member, you lost your card
or never had one. And you will know
that they have been there all along,
their eyes on your letters and books,
their hands in your pockets,
their ears wired to your bed.
Though you have done nothing shameful,
they will want you to be ashamed.
They will want you to kneel and weep
and say you should have been like them.
And once you say you are ashamed,
reading the page they hold out to you,
then such light as you have made
in your history will leave you.
They will no longer need to pursue you.
You will pursue them, begging forgiveness,
and they will not forgive you.
There is no power against them.
It is only candor that is aloof from them,
only an inward clarity, unashamed,
that they cannot reach. Be ready.
When their light has picked you out
and their questions are asked, say to them:
“I am not ashamed.” A sure horizon
will come around you. The heron will rise
in his evening flight from the hilltop.

On that note, I am pretty pro-technology and science. While I have no particular quarrel with neuroscience on its own, pop-neuroscience is often a repository for the modern search for legitimate experiences and theories of the Self. In some quarters, this becomes the window-dressing to sell discredited ideologies.

Readers often come for the anti-woke sentiment, and stay for the personal charm and winning personality (kidding). I get complaints that I am too anti-woke. Or that I’m not anti-religious enough. Or that I’m too pro-religious.

A while ago, I wrote about Jeff Koons, and the removal of religious guilt and shame as a central idea in his work. I also frequently write about Marxism and neo-Marxism as relying on both liberation and revolutionary praxis for their survival. Such doctrines get nature and human nature horrifically wrong, but they get enough of both right, it seems.

Robert Hughes wasn’t a big fan of Koons, and looked at him with a skeptical, suspicious eye:

Celebrity, money, art and fame are mixed in a big bowl:

As posted, I think this except highlights the idea of liberating one’s Self from not only guilt and shame, but judgment. Artists and the avant-garde thrive in such space, but so do ideologues and the worst kinds of people, and a lot of what’s bad in people.

Many avant-garde have become avant-huitard.

Jeff Koons’ Made In Heaven blurred 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’.

Some quotes from Koons:

‘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.’

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: WomanGoethe’s Color Theory: Artists And ThinkersSome 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’ 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;..

Some Paintings, Grievance, and Rationalizing Technocracy

-Via Mick Hartley, photographer Nicolas Lepiller takes photographs of New York City at night.

-Also via Mick Hartley, via The Atlantic, a brief Jeff Koons mention.

-Theodore Dalrymple writes about the paintings of Joshua Reynolds and Marlene Dumas.

-Let’s not forget what some Americans are choosing to sacrifice for the rest of us.

-Via an interview with Ken Minogue from 2006:

BC: What do you make of political correctness? There are those who would argue it’s a thing of the past. Frankly, I don’t see how that’s possible. It seems to me that cultural Marxism is more regnant than ever, would you agree?

KM: In my time, a great deal of what used to be intuitive and instinctive (such as good manners) has been replaced by the rule-bound and rationalised. Political correctness is a politicised version of good manners offering power to the kind of meddlesome people who want to tell others how to behave. As to Marxism, it was merely one more illusion that purported to be the key to life. It is significant in that it reveals one of the dominant passions still at work in our civilisation – the passion to create happiness by technology in the hands of a supposedly enlightened elite.

From Mike Nayna’s Youtube channel: Radical students and some of their thought-leading administrators have a talk at Middlebury:

Repost-Ken Minogue At The New Criterion: ‘Christophobia’ and the West’

Full piece here.

There’s something almost religious about the way some people go about pursuing their non-religious ideas.

Minogue framed it thusly:

Olympianism is the characteristic belief system of today’s secularist, and it has itself many of the features of a religion. For one thing, the fusion of political conviction and moral superiority into a single package resembles the way in which religions (outside liberal states) constitute comprehensive ways of life supplying all that is necessary (in the eyes of believers) for salvation. Again, the religions with which we are familiar are monotheistic and refer everything to a single center. In traditional religions, this is usually God; with Olympianism, it is society, understood ultimately as including the whole of humanity. And Olympianism, like many religions, is keen to proselytize. Its characteristic mode of missionary activity is journalism and the media.’

And:

Progress, Communism, and Olympianism: these are three versions of the grand Western project. The first rumbles along in the background of our thought, the second is obviously a complete failure, but Olympianism is not only alive but a positively vibrant force in the way we think now. Above all, it determines the Western moral posture towards the rest of the world. It affirms democracy as an ideal, but carefully manipulates attitudes in a nervous attempt to control opinions hostile to Olympianism, such as beliefs in capital or corporal punishment, racial, and other forms of prejudice, national self-assertion—and indeed, religion

As previously posted, Minogue discussed ideology (Marxist ideology in particular), and modern promises of radical and revolutionary freedom:  To go deeper and replace Science and Religion, Economics and Politics, on the way to some knowable end-point to human affairs.

——————–

As previously posted:

Perhaps the flip-side to liberal secular humanist faith is a lack of faith.  Surely some deep, liberal thinker out there has become thoroughly convinced that people are no good, after all, and can’t be trusted with their freedoms apart from his/her thinking or ideological commitments. Perhaps there’s a secular humanist political leader somewhere thoroughly sick of humanity for the time being, simply accruing more political power and influence because they can.

As far as satire or mockery goes, they would be just as worthy, no?

Those who rebel against authority, mindlessly, are more likely to embody a new authority.

Recently, British popular thinker Alain De Botton floated the idea of building an ‘atheist temple’ in the heart of London.  He recommends combing through religious practices for useful organizing principles in response to the New Atheists.  You can read more about it here, which includes a radio interview/podcast.

Did the Unitarian Universalists get there first, with a mishmash of faith and secular humanism?

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

‘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’

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RelatedA definition of humanism:

“‘…a morally concerned style of intellectual atheism openly avowed by only a small minority of individuals (for example, those who are members of the British Humanist Association) but tacitly accepted by a wide spectrum of educated people in all parts of the Western world.”

Roger Scruton At The WSJ: ‘Memo To Hawking: There’s Still Room For God’

Related On This SiteFrom Darwinian Conservatism: ‘The Evolution of Mind and Mathematics: Dehaene Versus Plantinga and Nagel’

Sunday Quotation: Edmund Burke On The French Revolution

The classical liberal tradition…looking for classical liberals in the postmodern wilderness: Isaiah Berlin’s negative liberty: A Few Thoughts On Isaiah Berlin’s “Two Concepts Of Liberty”… From George Monbiot: ‘How Freedom Became Tyranny’…Looking to supplant religion as moral source for the laws: From The Reason Archives: ‘Discussing Disgust’ Julian Sanchez Interviews Martha Nussbaum.…  Repost: Another Take On J.S. Mill From “Liberal England”

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”

One way out of multiculturalism and cultural relativism:

Update And Repost- From YouTube: Leo Strauss On The Meno-More On The Fact/Value Distinction?’

Repost-Catholic Thinking Applied To Modern Political Orders-Edward Feser & Some Links & Sunday Thoughts: It’s Getting Tougher To Defend Quiet Paths

Having a little extra time some Sundays ago, I’d taken Edward Feser’s thinking from his post The Socialist State as an Occasionalist God and added a few links to dictionary definitions of the terms to help myself understand his reasoning (perhaps I’ll be accused of ‘Jesus-smuggling’).

As a layman predisposed to philosophical skepticism, I’m sympathetic to the idea of well, examining ideas with skepticism. I wouldn’t call myself a believer, really. I tend to see myself as walking around the edges of secular humanism, liberal idealism and American pragmatism. Additionally, I’m trying to put the current American political landscape into some context, as well as the unfolding logic found within much Romantic, Modern, & Postmodern schools of thought.

I prefer conservation and slow change as regards many current legal and social battles (closer to Constitutionalism), but am a pretty live-and-let-live guy.

Here’s Feser logic as best as I’ve understood it in about an hour or so (I’m bound to get some things wrong).

Feser borrows from this paper:

The linked parts are what I’ve filled in, coming directly from dictionary definitions, and the rest comes from Feser’s post. I basically just swapped out ‘God’ for ‘The State’ to extend Feser’s analogy in the bottom portion:

Pantheism: Pantheism is the belief that reality is identical with divinity, or that all-things compose an all-encompassing, transcendent god. Pantheist belief does not recognize a distinct personal God.

Occasionalism: God alone has causal efficacy, and the apparent causal power of created things is illusory.

Concurrentism: God not only conserves things in existence, but also must concur or cooperate with their activity if they are to have any efficacy.

Conservationism: Created things not only have causal power, but exercise it completely independently of God.

Atheism: Atheism is, in the broadest sense, an absence of belief in the existence of deities. Less broadly, atheism is a rejection of the belief that any deities exist. In an even narrower sense, atheism is specifically the position that there are no deities.

Now Feser applies these concepts to certain political orders (more or less, swapping out ((God(s))) for ((The State)) or ((God)) for ((Modern Concepts of Political Order)), to extend his analogy.

Totalitarian Socialism: The belief that reality is identical with Statism, or that all-things compose an all-encompassing, transcendent State. Totalitarian socialist belief would not recognize a distinct personal State.

Occasionalism (Socialism): The State alone has causal efficacy, and the apparent causal power of created things is illusory.

Concurrentism (Natural Law): The State not only conserves things in existence, but also must concur or cooperate with (individuals’, things’?) activity if it is to have any efficacy.

Conservationism (Libertarianism): Created things (individuals?) not only have causal power, but exercise it completely independently of The State.

Anarcho-Capitalism: Anarcho-capitalism is, in the broadest sense, an absence of belief in the existence of States. Less broadly, anarcho-capitalism is a rejection of the belief that any States exist. In an even narrower sense, anarcho-capitalism is specifically the position that there are no States.

Let me know what I may have gotten wrong, or what you think Feser may be getting wrong.

Please be advised that what follows is a rat’s maze of gathered links and thoughts. Enter at your own risk.

I’ve always loved this Ralph Waldo Emerson quote (or my idea of the quote, anyways):

‘I hate quotations. Tell me what you know.

This morning I had the thought that the minimalist/deflationist response might be:

‘About what?’

Simon Blackburn, discusses getting at the truth:

From a previous video:

‘Along comes someone like Pilate, Pontius Pilate, and says something like: ‘What is truth?’ and everybody goes sort of dizzy, and you look to the philosopher to provide a suitably abstract and highfalutin answer. The minimalist says you shouldn’t answer Pilate, or rather, if you answer Pilate, you answer should take the form of a question…which is “What are you interested in?’

So basically, you throw the question ‘What is truth?’ back until the person who’s interlocuting you… gives you an example and says ‘Well, I’m interested in whether penguins fly’ and you say ‘Okay well the truth there…the truth would consist in penguins flying…’

…that’s very disappointing:’

Blackburn on Richard Rorty here.

From Kelley Ross, who takes a step back from moral relativism and good ‘ol American Pragmatism:

‘It is characteristic of all forms of relativism that they wish to preserve for themselves the very principles that they seek to deny to others. Thus, relativism basically presents itself as a true doctrine, which means that it will logically exclude its opposites (absolutism or objectivism), but what it actually says is that no doctrines can logically exclude their opposites. It wants for itself the very thing (objectivity) that it denies exists. Logically this is called “self-referential inconsistency,” which means that you are inconsistent when it comes to considering what you are actually doing yourself. More familiarly, that is called wanting to “have your cake and eat it too.” Someone who advocates relativism, then, may just have a problem recognizing how their doctrine applies to themselves’

And on Richard Rorty:

‘Pragmatism is really just a kind of relativism; and, as with Protagoras’s own strategy, it is a smoke screen for the questions that ultimately must be asked about what it means that something is “better,” or now that something “works.” Something “works,” indeed, if it gets us what we want — or what Richard Rorty wants. But why should we want that? Again, the smoke screen puts off the fatal moment when we have to consider what is true about what is actually good, desirable, worthy, beneficial, etc. All these responses are diversions that attempt to obscure and prevent the examination of the assumptions that stand behind the views of people like Rorty. It is easier to believe what you believe if it is never even called into question, and that is just as true of academic philosophers like Rorty as it is for anybody else. Being intelligent or well educated does not mean that you are necessarily more aware of yourself, what you do, or the implications of what you believe. That is why the Delphic Precept, “Know Thyself” (Gnôthi seautón) is just as important now as ever.’

This Wendell Berry quote, from on “tolerance and multiculturalism,” from his essay “The Joy of Sales Resistance”, has stayed with me:

Quit talking bad about women, homosexuals, and preferred social minorities, and you can say anything you want about people who haven’t been to college, manual workers, country people, peasants, religious people, unmodern people, old people, and so on.’

Please do keep in mind Wendell Berry is NOT going to buy a computer.

Hmmm….he’s a little out there, but Alexander Stoddart’s a classicist, working in a medium with less immediacy but long pedigree:

Related On This Site:

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-Ah, Look At All The Lonely People-‘Jeff Koons Is Back’ Via Vanity Fair

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

Via C-SPAN-The Historical Context Of Allan Bloom

Thanks to a reader.

Quite a varied discussion on Bloom’s surprise 1987 bestseller: ‘The Closing Of The American Mind

Does rock/popular music corrupt the souls of youth in preventing them from evening-out the passions; from pursuing higher things that a quality humanities education can offer?

Might such a lack allow political ideology to offer young people something to do, something to be, and something of which to be a part?

A questioning of premises, with varied disagreement, including that from an Emersonian.

Heather McDonald At The WSJ: ‘ The Humanities Have Forgotten Their Humanity’

-Update And Repost- From YouTube: Leo Strauss On The Meno-More On The Fact/Value Distinction?’

Repost-From Darwinian Conservatism: ‘Nietzsche–Aristocratic Radical or Aristocratic Liberal?’

-Update And Repost: ‘A Few Thoughts On Allan Bloom–The Nietzsche / Strauss Connection’

Various Products Of Radical Reason And Reactions To Them- John Gray At The New Statesman

Ken Minogue From ‘The Liberal Mind’, Denis Dutton On Geoffrey Miller and Good ‘Ol American Jeff Koons Again-The Celebrification Of Art & Politics

Ken Minogue from the preface to ‘The Liberal Mind

Liberals engage the right mood by contemplating the experiences of those they take to be oppressed, in what I have called “suffering situations.” You might think this an admirable altruism amid the selfish indifference of the mass of mankind, and there is no doubt that it has often been sincere and that it could at times mitigate some real evils. But the crucial word here is “abstract.” The emotions are elicited by an image, as in the craft of advertising. The people who cultivate these feelings are usually not those who actually devote their time and energies to helping the needy around them, but rather a class of person—liberal journalists, politicians, social workers, academics, charity bureaucrats, administrators, etc.—who focus on the global picture.’

Pg xi

I would add that while I have my doubts about the religious true-believer and salvationist, I have particular doubts about the Neo-Romantic Environmentalist, the secular, progressive do-gooder, and the high liberal globalist shuttling between academy and government.

Satire beckons.

The late Denis Dutton on Geoffrey Miller’s book: The Mating Mind: How Sexual Choice Shaped the Evolution of Human Nature

The centerpiece of Miller’s argument is the making and appreciating of art. Miller’s idea of art, as we might expect, is wide-ranging and popular, drawn more from everywhere in culture: dancing, body-decoration, clothing, jewellery, hair-styling, architecture, furniture, gardens, cars, images such as calendars and paintings, creative uses of language, popular entertainments from religious festivals to TV soaps, music of all kinds, and on and on. Miller’s discussion is less focused on the high-art culture of modernism and postmodernism, since it anyway distinguishes itself against popular taste.

Of course, there will be all manner of reductionism (art=sex) and popularized idiocy (Bach + brain-scan = pop-neuroscience) to follow.

There’s something about both our cultural tilt towards (S)cience-ifying every aspect of life (stretching out these new fields of knowledge) as well as the popularized explanatory journalism (Jesus Christ not another think-piece) which are worth thinking about.

Witnessing the outcomes and consequences of such truth and knowledge claims downstream, some quite possibly more true than others, invites skepticism.

In the meantime, enjoy the show?

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…

Don’t worry, ‘ethics’ on the fly, in universities and in journalism is everywhere these days, and beneath that, some crazy new true-believers.

Hmmm…..

As posted, please check out Jeff Koons (if you thought the celebrification of politics was striking, culturally, this happened quite before with the celebribrification of art):

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There’s always been a bit of the showman about Jeff Koons; the kind of young man who could put on a bow tie and try to give many museum-goers their time/money/aspirations’ worth at the membership desk.

This blog forgives people trying to explain what their art ‘means,’ exactly, but confesses to pleasure in seeing Koons put on the spot under the suspicious eye of an ornery old Robert Hughes.

I don’t fault Koons for finding himself firmly within modernism, searching for universal forms and broader historical context within those confines, but I admit it’s nice to see him held to account for his bullshit, and perhaps the broader, deeper bullshit he shares with many modern and postmodern artists: Pursuing novelty and recognition and thus making art into a business and often commercializing it, aiming for celebrity while offering meta-critiques on celebrity, making the personal and private very public (masturbation into social commentary, sex into meta-critques of religious shame, ‘culture’ and pornography).

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.

Aside from the above, there’s something that strikes me as not just late 20th century-modern about Koons, but also very American

A Link To ‘Night Shadows’ By Edward Hopper, A Poem By Robert Frost & Some Images

Night Shadows by Edward Hopper.

The black and white was made in 1924, and is probably most evocative of noir.

I think Raymond Chandler’s High Window is the best of the detective novel.

Here are some quotations of his, if you’re interested.

“Los Angeles was just a big dry sunny place with ugly homes and no style, but good-hearted and peaceful. It had the climate they yap about now. People used to sleep out on porches. Little groups who thought they were intellectual used to call it the Athens of America.”

Here is the link.   It’s been a long time since they just reviewed the book and not the author.

The poem that most came to mind:

Acquainted with the Night

I have been one acquainted with the night.
I have walked out in rain—and back in rain.
I have outwalked the furthest city light.

I have looked down the saddest city lane.
I have passed by the watchman on his beat
And dropped my eyes, unwilling to explain.

I have stood still and stopped the sound of feet
When far away an interrupted cry
Came over houses from another street,

But not to call me back or say good-bye;
And further still at an unearthly height,
One luminary clock against the sky

Proclaimed the time was neither wrong nor right.
I have been one acquainted with the night.

Robert Frost

As posted:

Detroit Nocturne‘ found here.  Via Mick Hartley.

I’m partial to ‘Joey’s Meatcutter Inn, Bar & Grill 2017‘:

Joey's Meatcutter's Inn, Eastside, Detroit 2017

The lonely cityscape at night or the familiar glow of gas station lights cast into the American wilderness.  The eye might want to linger among the colors, shapes and clouds even though the mind knows this is pretty much an empty street in a ‘post-industrial’ zone.

The Liberatory Impulse And The Messiness Of The Postmodern Muse-Some Links On Hughes On Warhol

A man holding a narrower, classical definition of art will also hold some bias towards those who don’t (many moderns and post-moderns). Hughes’ harsh eye passes over landscapes full of landscapes discussing the Self-as-Landscape.

Dear Reader, forgive the injustice of this crap I found after thirty seconds of searching ‘Self-as-Landscape‘.

When did art become so much about fame, celebrity, and promotion, anyways?:

Hughes on Warhol (paywall):

To most of the people who have heard of him, he is a name handed down from a distant museum-culture, stuck to a memorable face: a cashiered Latin teacher in a pale fiber wig, the guy who paints soup cans and knows all the movie stars.

I look forward to seeing you at my upcoming One-Man-Show: You will be free to make eye-contact as you process around me. I will be sitting Native-American-style, half-nude on the floor of MoMA, with industrially-made glassware suctioned over my mouth.

Scorn me. Censure me. Make love to me with your gaze.

As I babble incoherently into the vacuum, losing consciousness, I will also regress into the empathetic purity of childhood.

Should you lift my body up the weight of (H)istory becomes clear.

Should you leave me passed-out on the barren, linoleum floor, the shame of inaction implicates you in Oppression.

A little more on Hughes’ on Warhol via The Spectacle of Skill: Selected Writings of Robert Hughes.

Full post here:

Its silver-papered walls were a toy theater in which one aspect of the sixties in America, the infantile hope of imposing oneself on the world by terminal self-revelation, was played out. It had a nasty edge, which forced the paranoia of marginal souls into some semblance of style, a reminiscence of art.

As someone often looking to take a classical, or ‘outside-the-modern’ perspective, such goring-of-the-sacred-60’s-oxen is refreshing. The pursuit of (S)elf is long-past tiresome. The pose of the too-Self-aware-nihilist haunts many a coffee shop these days.

Become an empty vessel, mass-produced on a shelf. Let fame pass through you, empty as the wind itself.’

Maybe the 60’s generation was as much a walling-off from the past, as it was a fruitful opening inwards towards (S)elf-Actualization.

Perish the thought.

In looking for some criticism of Hughes’ on Warhol, unsurprisingly, I found Google’s algorithm suggesting the following piece at the top of the list (freedom is next):

The problem is that authentic modern art – of which Warhol is unarguably one of the greatest practitioners, even if you don’t much care for his work – operates according to non-aesthetic narrative principles, and is therefore headed in a quite different direction from the quest for classical, museum-quality ‘beauty’. Modern art is about connecting with the experiential landscapes which some artists are able to conjure up through their artworks, and this connectivity functions according to theatrical and narrative principles rather than aesthetic ones. Modern artists are revealing to the viewer worlds they have discovered, and then, using their artworks and artforms, inviting you to experience them as your own. A Warhol ‘Marilyn’ is not an ersatz Velasquez  – even if Andy thought it was, and wanted it to be: a ‘Marilyn’ – like any or all of his other works – is an invitation to a theatrical extravaganza of transgendered and drug-addled camp nihilism, spiked with glitz and glamour and celebrity, and dialogue reduced to a cultivated vacuity. This performative inversion of normative values – Warhol’s real theatrical ‘art’, in words, pictures and behaviour – is quite other than the kind of cognitive deficiency Hughes though he was dealing with. Truth be told it is Hughes who turned out to the stupid one, wholly unable to recognise the transgressive artistry all around him, and wholly unable to make the transition from an orthodox classicism – the type of lumpen conception of pictorial art any bonehead can come up with –  to the new world order.

Egads!

Everyone’s a Self, you see, and every Self deeply wants fame and recognition, or at least to be fresh, new and ahead of the curve in the marketplace.

Or do you?

Don’t set your sights too high, this pickled basketball seems to be saying, for your aspirations, too, may be empty as the liquid void in which this Spalding hovers.  Gaze upon your hoop dreams within the silence of the ideal… hallowed as you temporarily are within this modern secular temple called…MoMA.

The marketplace delivers us that which we want, enriching our lives and fulfilling our desires but that’s not really what we want, is it?

Do you long for the days of unabashed American consumerism? Are you nostalgic for nights lit only by a soft, neon glow on the underbellies of clouds? Return to a time when America broadcast its brash, unironic call to the heavens.

Repost: A Bleak, Modern House-Four Poems

This will be a longer one, so thanks in advance.

From the comments on this piece:

‘The most useful definition of modernist fiction I’ve encountered comes from Brian McHale’s Postmodernist Fiction. He says modernist fiction tends to “foreground epistemological questions” such as “How can I interpret the world I’m part of? What is there to be known? Who knows it? What are the limits of that knowledge?” In contrast, postmodernist fiction tends to “foreground ontological questions” such as “What is a world? What kinds of worlds are there and how are they constituted? What happens when…boundaries between worlds are violated?’

As to the epistemological questions surrounding Modernism, below are four poems. Hopefully, each is a representative example of a move away from the Romanticism that had been prevalent up until the late 1800’s.

In addition to the move away from traditional Romantic rhyme and meter towards modern blank verse, there’s also a certain conception of the Self rendered in them; a presentation of our natures that might be worth examining in some detail.

I believe we can see clearly a move away from tradition towards the Self, the Poet isolated, the poem itself as a means of communication, and an anxiety so common within the 20th century.

I should note that a friend points out Harold Bloom does it much better (well, yes…obviously). From this blurb:

‘At the heart of Bloom’s project is the ancient quarrel between “poetry” and “philosophy.” In Bloom’s opinion, we ought not have to choose between Homer and Plato; we can have both, as long as we recognize that poetry is superior.’

Says the guy who writes about poetry…


What does one find within, as one looks without, waking from sleep and dream?

What kind of world is this, and can the poet actually help us know it?

T.S. Eliot (Preludes: Stanza 3)

3.

You tossed a blanket from the bed
You lay upon your back, and waited;
You dozed, and watched the night revealing
The thousand sordid images
Of which your soul was constituted;
They flickered against the ceiling.
And when all the world came back
And the light crept up between the shutters
And you heard the sparrows in the gutters,
You had such a vision of the street
As the street hardly understands;
Sitting along the bed’s edge, where
You curled the papers from your hair,
Or clasped the yellow soles of feet
In the palms of both soiled hands.

The world will stain you, and it is a fallen, modern world, rendered profoundly and exquisitely.

As consciousness creeps in, building a bridge to the day, to the world, to the facts left as though they were the first facts, the light as though it were the first light, what one finds is distressing, both within and without.

That distress must be ‘made new,’ which is to say, the suffering (original?) in which we all sometimes find ourselves must match our experiences within the modern city and world, at least, the world created within Eliot’s lyrical verse.

Of the four poems, only the first and last have a 3rd-person subject.

Wallace Stevens‘ ‘I’ is in a more contemplative state, but it’s an ‘I’ exploring similar themes, and experiencing some distress in trying to know how the world actually is, and what might lie within.

The journey to The Self may not be a journey for the faint of heart.

The Poems Of Our Climate (stanzas II and III)

II
Say even that this complete simplicity
Stripped one of all one’s torments, concealed
The evilly compounded, vital I
And made it fresh in a world of white,
A world of clear water, brilliant-edged,
Still one would want more, one would need more,
More than a world of white and snowy scents.

III
There would still remain the never-resting mind,
So that one would want to escape, come back
To what had been so long composed.
The imperfect is our paradise.
Note that, in this bitterness, delight,
Since the imperfect is so hot in us,
Lies in flawed words and stubborn sounds.

Even if the verse can describe a perfected world, delivering us, perhaps, a little closer to perfection, our poet is still not free from the impulses and desires which simply never cease.

Interestingly, we end-up not with a discussion of the heart, the spirit, libido etc. as a source for those desires (for Plato, the irrational), but rather, for Stevens, just a mind.

We also find more Romantic elements of language and an almost baroque/rococo arrangement of words and ideas, dandyish even, yet combined with an intense effort to abstract, define, and clarify. From here, the poet may proceed on his task of flawed words and stubborn sounds.

***I find myself thinking of elements of modern architecture and abstract-expressionist painting. The meaning, or at least some delivery from our restless existences, can be found within the abstract itself. Or at least within a retreat to the abstract for its own sake, away from the world.

The modernist, glass-walled house on the hill will exist in its own space, offering and defying meaning. The structure’s own shapes will be stripped down to often mathematically precise forms interacting with Nature. These shall guide Man, or at least offer individual men a little refuge.

It is perhaps in Stevens’ poem we can see the questions of knowledge about the world suggesting questions about whether there is a world at all, or, at least, what kind of worlds each Self might be able to inhabit.

Here’s one of Robert Lowell’s poems, occurring a generation later, in the mid 20th-century, as part of the confessionals.

The Self is extremely isolated. In fact, Lowell went more than a little crazy. Unlike the known nervous breakdown of Eliot from which Eliot recovered, Lowell’s life was essentially one long breakdown from which he never recovered.

Here he is, looking back:

Epilogue

Those blessed structures plot and rhyme-
why are they no help to me now
i want to make
something imagined not recalled?
I hear the noise of my own voice:
The painter’s vision is not a lens
it trembles to caress the light.
But sometimes everything i write
With the threadbare art of my eye
seems a snapshot
lurid rapid garish grouped
heightened from life
yet paralyzed by fact.
All’s misalliance.
Yet why not say what happened?
Pray for the grace of accuracy
Vermeer gave to the sun’s illumination
stealing like the tide across a map
to his girl solid with yearning.
We are poor passing facts.
warned by that to give
each figure in the photograph
his living name.

The weight of having to make that meaning, for yourself, and by yourself, is a horrible weight indeed. One can glorify one’s Self and family, but that, alas, only goes so far. Rhyme and form still carry one’s living name, as far as they do.

Of course, there’s still wonderful rhythm and form here (this is excellent verse), but blanker now, with a relentless focus on the ‘I.’ The poet is perhaps talking a little more to himself, and the poem keeps self-consciously calling attention to itself.

In fact, it reminded me of the poem below, by Robert Creeley, which was published a few years afterwards.

From this page:

‘Creeley was a leader in the generational shift that veered away from history and tradition as primary poetic sources and gave new prominence to the ongoing experiences of an individual’s life. Because of this emphasis, the major events of his life loom large in his literary work.’

There’s Nothing but the Self and the Eye seeking and making meaning, by itself within a void of emotionally compact and precise language (of course there’s still form and other things besides).

Can the poet fit inside the little abstract chapel of words he’s building for himself (let alone the world, tradition etc.)?

For all the talk about ‘space,’ there seems very little.

The Window

Position is where you
put it, where it is,
did you, for example, that

large tank there, silvered,
with the white church along-
side, lift

all that, to what
purpose? How
heavy the slow

world is with
everything put
in place. Some

man walks by, a
car beside him on
the dropped

road, a leaf of
yellow color is
going to

fall. It
all drops into
place. My

face is heavy
with the sight. I can
feel my eye breaking.

The distress is still there…but I’d argue that we are now a good distance away from the grandness of Eliot’s vision, his religiosity and virtuosity with form and meter at the dawn of Modernism. Very few people can/could do what Eliot did (addition: even if he can help us gain knowledge of our Selves or the world).

That said, it’s unclear there’s enough tradition and confidence to even undertake such a project, now, even as such talents come along. The state of things is more scattered. We’re in a very different place of selves and artists isolated, of anxiety and post-anxiety.

Aside from the very accomplished poets above, in terms of both knowledge (epistemology) and being (ontology), we often have writers feeling pressure to weigh-in on such questions without even being about to write that well; artists who can’t draw or paint that well, and frankly, quite a bit of bullshit besides.

So, where are we headed? Who’s ‘we’ exactly?

Predictions are hard, especially about the future.


As previously posted:

Why not just put a few algorithms to work in writing those artist statements?

Bathe in the bathos of a warming world:

A reader sends a link to a SF Gate review of poet Jorie Graham’s ‘Sea Change:

‘In “Sea Change,” Graham becomes Prospero, casting spells by spelling out her thoughts to merge with ours, and with the voices of the elements. The result is a mingling of perceptions rather than a broadcasting of opinions. Instead of analysis, the poems encourage emotional involvement with the drastic changes overwhelming us, overwhelm- ing the planet.’

and:

‘Strengths and weaknesses, flows and ebbs, yet every poem in “Sea Change” bears memorable lines, with almost haunting (if we truly have but 10 years to “fix” global warming) images of flora and fauna under siege. Jorie Graham has composed a swan song for Earth.’

Oh boy.

What are these poems being asked to do?


And moving away from poetry into the realm of ‘performance art,’


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

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’

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

Ah, Look At All The Lonely People-‘Jeff Koons Is Back’ Via Vanity Fair

Some Updated Links On Postmodernism

A Few Links Modernism, Gathered Over The Years

Click here for a Studs Terkel and Tom Wolfe audio discussion of Wolfe’s ‘From Bauhaus To Our House

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…

Hmmm…..Roger Scruton on Modern Architecture at the City Journal:

We could no longer use their styles and materials sincerely, the modernists argued, since nobody believed in those old ideals. The modern age was an age without heroes, without glory, without public tribute to anything higher or more dignified than the common man.’

As posted, please check out Jeff Koons (if you thought the celebrification of politics was striking, culturally, this happened quite before with the celebrification of art):

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’

T.S. Eliot (Preludes: Stanza 3)

3.

You tossed a blanket from the bed
You lay upon your back, and waited;
You dozed, and watched the night revealing
The thousand sordid images
Of which your soul was constituted;
They flickered against the ceiling.
And when all the world came back
And the light crept up between the shutters
And you heard the sparrows in the gutters,
You had such a vision of the street
As the street hardly understands;
Sitting along the bed’s edge, where
You curled the papers from your hair,
Or clasped the yellow soles of feet
In the palms of both soiled hands.

A friend points out Harold Bloom does it well (well, yes…obviously). From this blurb:

At the heart of Bloom’s project is the ancient quarrel between “poetry” and “philosophy.” In Bloom’s opinion, we ought not have to choose between Homer and Plato; we can have both, as long as we recognize that poetry is superior.’

Thursday Poem-William Blake

London

I wander thro’ each charter’d street,
Near where the charter’d Thames does flow. 
And mark in every face I meet
Marks of weakness, marks of woe.

In every cry of every Man,
In every Infants cry of fear,
In every voice: in every ban,
The mind-forg’d manacles I hear 

How the Chimney-sweepers cry
Every blackning Church appalls, 
And the hapless Soldiers sigh
Runs in blood down Palace walls 

But most thro’ midnight streets I hear
How the youthful Harlots curse
Blasts the new-born Infants tear 
And blights with plagues the Marriage hearse

William Blake

The arch-Romantic? Let’s just say he was ‘intense’