Hey Kids, Come Over Here And Try Some Of This Depressive Realism-A Few Links & Thoughts

Ben Sixsmith ‘Art For The Age Of Social Media…

‘A YouGov poll on behalf of Homes & Antiques magazine has revealed that Banksy is Britain’s favourite artist.’

Dear Reader, I used to read ‘Homes & Antiques Magazine‘ religiously, hours of orange rinds scattered on my plate. ‘What does it mean?’

I used to drive half-dressed to the last parking lot on Earth, a few final photons bending through our atmosphere.

I could not outrun a racing mind, pacing among the dunes, staring out across an empty bay, salt winds curling the grasses: ‘Reese’s Peanut Butter Cups are FOURTH on the yougov most popular food and snack brands list.

Once you accept the idea that a good work of art can play deep chords, elevating you, proffering wisdom, awe, and pleasure, you generally wish to preserve it and hold it close, sharing in its illumination.  In such a light, a lot of other stuff can resemble so much kitsch strewn after a storm of technological and engineering progress..

Depending on how deeply and often you do this, you can become ‘refined.’

Sixsmith again:

‘We have been replacing a lack of cultural quality with cultural quantity. Instead than having rare moments of beauty, power and insight, we (or, at least, many of us) face a ceaseless barrage of the cute, the curious and the clichéd. Rather than seeking out artworks which flicker in our minds long after we have stopped looking at them, we browse past endless images that light our brains up like catherine wheels. Images are almost too accessible. We can see everything, and nothing matters. Like. Like. Like.’

As I currently see things, there are always questions of artistic sorts feeling constrained by convention, tradition, repetition and practice.  Money issues never really go away.  Now there’s just an arguably greater quantity of crap with which to compete for a reader’s attention.

Perhaps there’s also the condition of the isolated individual artist alone, conceiving of himself as outside all meaningful conventions, traditions and practices.  This, too, has become a convention, tradition and practice, for many artists and non-artists alike.  Selves speak to Selves.

Just stay on the surface of things, and move through:

Introduction to Poetry

I ask them to take a poem
and hold it up to the light
like a color slide

or press an ear against its hive.

I say drop a mouse into a poem
and watch him probe his way out,

or walk inside the poem’s room
and feel the walls for a light switch.

I want them to waterski
across the surface of a poem
waving at the author’s name on the shore.

But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.

They begin beating it with a hose
to find out what it really means.

Billy Collins

The confessional poets wove inner revelations into the architecture of their poems, and made themselves into active subjects.

A generation or two later, and they seem to have more prizes than poets.  From cartoons to comedians, many Selves are seeking hidden meanings behind every word.

See Also On This Site:  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’

Repost-So, You’re Telling Me What’s Cool?-Theodore Dalrymple At The City Journal: ‘Banksy In Neverland’

Repost-Daniel Dennett: ‘Postmodernism And Truth’

-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

Repost-Roger Scruton At The New Atlantis: ‘Scientism In The Arts & Humanities’

Repost-Some McGraffiti Links

Via Ed Driscoll, James Lileks on ‘A Clockwork Orange:’

‘Alex is a monster, and the fact that he can enjoy the high arts of Beethoven is the author’s way of rubbing our nose in our preconceptions about the elevating power of Art.’

It’s a hard movie to even like, in my opinion:

There is some mention in the post of a McDonald’s opening up in Britain, with graffiti included as part of the design.

Perhaps this is evidence of a trend making its way into consumer culture, or perhaps more of a necessity for McDonald’s to try and appeal to its consumer base and stay alive.

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Mick Victor walks down the streets and alleyways of L.A. with camera in tow, his focus eventually drawn to some forms, shapes, colors or configuration.

Some of those abstract photos here.

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Would you be willing to undermine property-rights and the rule-of-law in order to celebrate ‘graffiti-art’?

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…

Apparently graffiti art does have a price, and it may be much more than $$$:

Ruling that graffiti — a typically transient form of art — was of sufficient stature to be protected by the law, a federal judge in Brooklyn awarded a judgment of $6.7 million on Monday to 21 graffiti artists whose works were destroyed in 2013 at the 5Pointz complex in Long Island City, Queens.

NY Curbed had 5Pointz coverage here.

A NY Times beat reporter shared in the pathos and suffering of those graffiti artists whose 5pointz canvas was whitewashed in preparation for demolition by owner Jerry Wolkoff.

One street artist, who would give his name only as Just, had at least two works painted over. He spent hours early Tuesday gazing at the whitewashed buildings, leaning against a red-brick wall across the street. Then he bought himself a tall glass of beer, which he sipped slowly from a brown paper bag.

“Heartbreaking,” he said. “This is not just about graffiti — it’s about the unity of people who met here from all over the world.” He paused and took a drink. “That’s what really hurts.”

Three photos and some backstory here.  5pointz had become something of a graffiti mecca, arguably more than the sum of its parts:

Heather MacDonald At The City Journal: ‘Radical Graffiti Chic’

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

So, You’re Telling Me What’s Cool?-Theodore Dalrymple At The City Journal: ‘Banksy In Neverland’ What are these people doing with art?:  Often combining them with a Left-of-Center political philosophy as they are at NPR for popular consumption.

On this site, see: From ReasonTV Via Youtube: ‘Ken Burns on PBS Funding, Being a “Yellow-Dog Democrat,” & Missing Walter Cronkite’Repost-From NPR: Grants To The NEA To Stimulate The Economy?

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

Alas, The BBC, Angela Merkel, & Banksy-Some Links

Bari Weiss, Douglas Murray and Ed Husain discuss the high social costs and threats to free speech created by hardening social and institutional orthodoxies in our post 60’s landscape.  This modern landscape can look a bit more like a muddy field than some sort of egalo-utopia glittering upon the horizon above the muddy field.

Or maybe the muddy field just has an enormous, corporate bureaucratic-type structure sitting atop it, one which used to be run more by WASPs, but is now increasingly run by people listening to or kow-towing to activists, progressives and people committed to radical change within.

Or maybe this writing isn’t so good.  Apologies.

Liberation is next!

Nod and smile at the latest moral idea…or else:

The best kinds of clubs tend to be those whose members aren’t even sure they’re in a club.

The most interesting kinds of people can be free-thinkers, maintaining their humility, kindling a flame of quiet moral courage when called-upon.

Some of these people are quite traditional.

On another note, if any country seems to follow rules and keep an orderly house, that would be modern Germany.  Even the laughter can be a bit stiff.  Living far away from Germans, I was surprised by Angela’s Merkel’s move to fling open the meticulously aligned doors of Germany in 2015 so a seriously high number refugees could come-in, chill-out and you know…just be German.

Was the modern political soil so thin, the popular sentiment channeled so poorly, that no one foresaw any problems with this?

At least Adam Garfinkle offered a reasonable diagnosis at the time:

‘I would love to be proved wrong about all this. But the derangement of moral reasoning in Western Europe seems so advanced and deep that it is hard to be optimistic. One fears that if reasonable people do not somehow apply a brake to this wild excess of selfless saintliness, unreasonable people eventually will.’

Speaking of not thinking things through, the arts will need better thieves, artists and hob-knobbing art snobs if this really is the state of affairs:

Update & Repost: Some Links On 5Pointz, Graffiti, & The Arts–Property Rights & The Rule-Of-Law

Apparently graffiti art does have a price, and it may be much more than $$$:

Ruling that graffiti — a typically transient form of art — was of sufficient stature to be protected by the law, a federal judge in Brooklyn awarded a judgment of $6.7 million on Monday to 21 graffiti artists whose works were destroyed in 2013 at the 5Pointz complex in Long Island City, Queens.

Would you be willing to undermine property-rights and the rule-of-law?

NY Curbed had original 5Pointz coverage here.

A NY Times beat reporter shared in the suffering of those graffiti artists whose 5pointz canvas was whitewashed in preparation for demolition by owner Jerry Wolkoff.

‘One street artist, who would give his name only as Just, had at least two works painted over. He spent hours early Tuesday gazing at the whitewashed buildings, leaning against a red-brick wall across the street. Then he bought himself a tall glass of beer, which he sipped slowly from a brown paper bag.

“Heartbreaking,” he said. “This is not just about graffiti — it’s about the unity of people who met here from all over the world.” He paused and took a drink. “That’s what really hurts.”

Three photos and some backstory here. 5pointz had become something of a graffiti mecca, arguably more than the sum of its parts:

Once the real-estate market began heating-up in NYC, Wolkoff decided to whitewash his building overnight..

Every bit of graffiti scrawled there over 40-years was at his discretion.

Personally, I don’t take pleasure in the erasing of people’s hard work and creativity, nor in the breaking-up of a graffiti-collective which traveled far and wide to get to 5pointz, nor even in the iconic stature they gave the place, but David Thompson sums it up pretty well:

‘The moral of the story, gentlemen, is buy your own canvas’

The pathos in the Times article stops short of a familiar ‘art will unite all races, classes, & genders,’ type of Leftist political ideology.

I”m getting a sense that even should graffiti become a longer-lasting vehicle for artistic expression, beyond the street, it likely began for many non-taggers possibly in affect, driven by ideology, or the boredom and rebellion of the suburbs and people looking for some meaning in their lives.

What are they overlooking? What are they looking for? What do the people looking at the work might think they’re looking at?

Or perhaps it would have been better to celebrate the way street-culture and graffiti has interacted with money and market forces through tourism. 5pointz arguably was a tourism draw.

From The Times piece:

‘Though street art is meant to be temporary, 5Pointz became known as a graffiti museum. And the medium itself, once considered a symbol of urban unraveling, became a sought after gallery-worthy commodity, with work from street artists like Banksy commanding millions of dollars. Which is one of the reasons the whitewashing of 5Pointz’s walls was greeted with such vociferous dismay. “What?! What did they do?!” cried a tour guide named Hans Von Rittern, as he raced out of a tour bus early Tuesday, his arms wide, his face crumpling as soon as he caught sight of Ms. Flaguel. They embraced tightly and wept.’

I can think of some possible messages being sent by the law:

You don’t have to work and own something to have ownership in it (normalizing a collectivism which rejects the property-rights of others…thus your property rights as well…for what’s to stop the next guy from tagging over your tag?).  Someone else owns all this building anyways, so screw him, and screw the guy who came before me too.

The value of artistic creation is yet again associated with money in the modern world (partially out of guilt, I suspect), and not so much with self-expression, technique, craft, freedom, and moments which can elevate and expand, offering meaning within a process.

The criminality associated with graffiti is also tactily rewarded/overlooked by a court of law (there are real victims to the kinds of activity that can accompany tagging).  I would much rather have lawmakers and law enforcers hold a simple line, rather than set the wrong incentives.

It can’t have been a good day for those who lost something. It’s hard out there.

Here’s a video:

More broadly, romanticizing the logic of the street, and taggers, comes with its own risks. Celebrate the spirit of creative lawlessness and turf warfare with the full acceptance that there ain’t much law involved. I’m sure 5pointz served as an escape, and a positive environment for many, but all the other things going on in these neighborhoods aren’t so uplifting, hence, it’s importance.

That’s right Banksy, it’s still a tagger’s world:

Related On This Site:Heather MacDonald At The City Journal: ‘Radical Graffiti Chic’

So, You’re Telling Me What’s Cool?-Theodore Dalrymple At The City Journal: ‘Banksy In Neverland’

People are using art for political, religious, commercial and ideological reasons as always…right or left…believer or non-believer…Dove’s Campaign For Real Beauty: Pascal Dangin And AestheticsFrom Grist.Org Via The New Republic Via The A & L Daily: ‘Getting Past “Ruin Porn” In Detroit

Trading Robert Moses for Brailia…an authoritarian streak?: Brasilia: A Planned CityAnd AestheticsRoger Scruton In The City Journal: Cities For Living–Is Modernism Dead?

Jay Z And Marina Abramovic Via Twitter: A Pop-Rap Art Marketing Performaganza… A museum industrial complex…more complexes…who are the people museums should be serving? James Panero At The New Criterion: ‘Time to Free NY’s Museums: The Met Responds’

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 Successful…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-So, You’re Telling Me What’s Cool?-Theodore Dalrymple At The City Journal: ‘Banksy In Neverland’

Full piece here.

Banksy’s website here.

Here’s what much of that ‘meta’ commentary on commerce and transgressive street-art might get you. Local thugs charging those Banksy groupies to see his art. Isn’t it ironic, don’t you think?:

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Dalrymple:

‘The enormous interest his work arouses, disproportionate to its artistic merit, shows not that there is fashion in art, but that an adolescent sensibility is firmly entrenched in our culture. The New York Times reports that a lawyer, Ilyssa Fuchs, rushed from her desk the moment she heard about Banksy’s latest work and ran more than half a mile to see it. Would she have done so if a delicate fresco by Peiro della Francesca had been discovered in Grand Central Terminal? In the modern world, art and celebrity are one. And we are all Peter Pan now: We don’t want to grow up.’

Well, I certainly hadn’t noticed an adolescent sensibility at the NY Times. Certainly not.

An image of one of those Peiro della Francesca frescoes here.

Perhaps it’s worthwhile to view Banksy as a kind of poor man’s Damien Hirst: A ‘working-class’ British guy with some native talent but not too much in the way of formal training nor arguably lasting artistic achievement (perhaps in the ‘graffiti’ world). Instead of working as a gallery, mixed-media modern installation artist like Hirst, he’s followed the street-graffiti path leaving ‘transgressive’ messages on politics and ethics scrawled across the cityscape in anonymity. For all his irony, and the fact that he’s likely in on the joke, Banksy still finds himself subject to the larger forces at work where art, money, & fame are meeting.

As a girl in Seattle here mentioned to me at a party: ‘His work is a meta-commentary on art, commerce, greed, creativity and all that. His becoming a commodity is the ultimate irony.’

Deep, man, deep.

Yet, as to Dalrymple’s point, I could imagine an adult sneaking off to check out a Michaelangelo fresco with childlike anticipation, and maybe even a little childish or adolescent delight at being the first to arrive. Of course, I think that fresco tends to engender a much deeper and complex response than that of Banksy’s work and ‘social commentary’, but the desire for beauty, hope, and brief bursts of transcendence aren’t going anywhere. This reminds me of Richard Wilbur’s poem: ‘First Snow In Alsace.‘ which evokes the grim realities of war and suffering covered up by a beautiful snowfall.

Here are the last stanzas and line:

…You think: beyond the town a mile
Or two, this snowfall fills the eyes
Of soldiers dead a little while.

Persons and persons in disguise,
Walking the new air white and fine,
Trade glances quick with shared surprise.

At children’s windows, heaped, benign,
As always, winter shines the most,
And frost makes marvelous designs.

The night guard coming from his post,
Ten first-snows back in thought, walks slow
And warms him with a boyish boast:

He was the first to see the snow.

The worst war can bring is juxtaposed against our simple childlike wonder (and possibly childish) delight at that which is beautiful and mysterious in nature. Of course, such desires can help cause the destruction of war, too, but…hey. People love to be the first and the coolest. As Dalrymple argues above, these childish impulses are the ones that should not be so easily encouraged nor celebrated, especially by Banksy nor his reviewers at the NY Times. I pretty much agree.

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Performance artist Marina Ambramovic and Jay-Z are together at last during a 6-hour lip sync performance-art pieceto promote Mr Z’s new album.

Still, it’s probably more engaging than Tilda Swinton in a box.

Maybe Jeff Koons got there first, where marketing, money, and branding met pop art: A Reaction To Jeff Koons-For Commerce Or Contemplation?

***I’d currently argue that in a successful commercial culture such as ours, with such strong tensions between the individual artist and the demos, and such high and low-art available, and where we’re awash in pop culture, music & entertainment, it’s natural to have strong debate going as to what’s ‘cool’ and what’s good art. Clearly, religion and religious duties come into constant tension with both commerce and art. Clearly, that commercial culture has formed a celebrity culture which is also affecting our politics. Clearly, whether or not you’re an art snob, an aesthete, or a secularly or religiously moral person, you can easily see how that culture produces a lot of crap, and can arouse the base desires in people which can be as harmless as a crush, sexual longing, a desire for romantic love and/or the cult-like worship.

Here’s Robert Hughes being especially critical of an Andy Warhol modern art collector, and where money, marketing, art and fame meet:

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Addition: I’ve gotten a few emails suggesting this is too negative. Bah. I like some of Banksy’s work for it’s cleverness and wit, and his experience in doing what he does. Beyond that, not too much and there’s way too much hype.

Another Addition:

Related On This Site: Jay Z And Marina Abramovic Via Twitter: A Pop-Rap Art Marketing Performaganza

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’… some people don’t want you to have the economic freedom to live in the suburbs: From Foreign Policy: ‘Urban Legends, Why Suburbs, Not Cities, Are The Answer’

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

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’

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

As to the quote from Louis Menand’s piece on Joan Didion entitled: ‘Out Of Bethlehem:’

‘After the Old Sacramento moment, Didion came to see the whole pioneer mystique as bogus from the start. The cultivation of California was not the act of rugged pioneers, she decided. It was the act of the federal government, which built the dams and the weirs and the railroads that made the state economically exploitable, public money spent on behalf of private business. Didion called it “the subsidized monopolization” of the state.’

Of course, there’s some truth in this.  The U.S. Federal Government is a huge landowner and manager of public lands and natural resources across the West, sometimes overseeing competition between private firms and contractors to create the infrastructure (roads, aqueducts, bridges, especially), that has made some of civilized life possible.

But yes, it is the work of pioneers, settlers, and farmers, too.  It’s the work of businesses, employees, voluntary contracts and sometimes exploitation, working apart from the government. Sometimes, it really does come down to survival; new roads built out of necessity, common purpose and ingenuity.

The overall view of ‘economically exploitable’ masses of ‘People’ is a definite turn Left, though, as is the idea that an economy can be centrally planned successfully in the first place (it’s all rigged man…’they’ hate us individuals or ‘the People,’ so it’s either control or be controlled).

Rugged individualism is very common the West, but more Leftward ‘radical chic’ collectivism and solidarity-seeking tend to thrive in California and the coastal cities.

My argument would be this:  By Menand’s account, Joan Didion as a writer seemed to drift away from one of the California families earning success through its virtues, ambition and hard work, bringing benefit to many more than themselves.  I can’t speak to their character.

Frankly, it’s not uncommon for writers to engage in such drift either, especially solipsistic ones, while always seeking some context or meaning in which to frame their lives.

Thus, passing through the 60’s and growing up in California, having gone to Berkeley, and wandering around amidst some pretty sad, desperate people drawn to the Bay Area, Didion may well have been shaped along more radical and Leftward lines.

But, aside from such ideas, by all means, if you like Didion’s stuff, read it.

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On that note: Banksy, the mildly talented, ironic/iconic graffiti artist tries to shock you awake to how the world really is.

It’s not Disneyland, it’s ‘Dismaland.

Get it?

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I admit I find Disney theme parks to be rather sentimental recreations of nature, civilization, and storybook themes.  There’s a lot of kitsch in them thar walls.

Clearly, though, many people love them.  They provide families with a place to go and spend time with their kids, and provide the kids a safe place to explore.

They’re a business, operating for profit.  I get it, but I don’t really care.

I can understand that a Frenchman, living in the shadow of Euro Disney, consuming a local wheel of perfectly aged cheese might have a different set of concerns, and perhaps some valid concerns, but I still don’t care that much.

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So, why ‘ironically’ target Disney, copying their model of people paying to wander through rather sentimental recreations of nature, civilization and storybook themes?

Artists often want your attention, usually to have shaped your imagination in a slightly different way, or to make see the world anew by creating something beautiful enough that your reasons can’t justify your aesthetic pleasure.

So, ironically, and with politics infused, Banksy has deigned to get your attention by making something shockingly modern and urgent, globally just and socially conscious enough to direct your attention to the world as it really is.

Deep man, deep.

Surely, while highlighting the problems artists have always had with money and patronage, Banksy has no commitment to post-Enlightenment ideas that offer rather sentimental recreations of nature, civilization and storybook themes…still haunting the landscape like so many abandoned theme parks that few people care to visit.

What a sad use of the imagination and relatively little in the way of artistic technique to back it up.

Related On This Site:  Jay Z And Marina Abramovic Via Twitter: A Pop-Rap Art Marketing Performaganza

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’… some people don’t want you to have the economic freedom to live in the suburbs: From Foreign Policy: ‘Urban Legends, Why Suburbs, Not Cities, Are The Answer’

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

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’

Rattling Around-An Artsy Editorial: ‘Pop Culture & Iconic Art History Mashups From The Father Of Stencil Art’

Full piece here (Hat-tip to Anthony Williams)

Before Banksy, there was Blek Le Rat:

‘Following the cut-and-paste technique of Dada-ist collages and the sourcing of commercial imagery in Pop Art, appropriation of visual material or pop culture images has long been utilized by street and graffiti artists. Le Rat continues this style of sampling in his more recent body of works, employing pop culture references and Old Master artworks in a series of graphic spray paint works on canvas.’

An interview here:

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Hopefully, dear reader, you will indulge a few ideas that have sprung to mind, as clearly no one knows better what’s happening on the streets.

The first is the Youtube mashup, or in certain cases the sampling of music across different genres and styles, then cramming and crafting them back together into potentially new creations just by using the stuff of Youtube videos.

All this requires is access to a computer and the focus to really listen to music that draws one in. No particular musical training nor long years’ sacrifice is required.  In fact, Youtube has some real practitioners out there, taking apart and putting music videos back together, sifting through an enormous compilation of free and/or cheap recorded music.  The bar for being a D.J. just got lower.

The lower cost and easier availability of basic programs and equipment has spurred-on new genres of music, often driven by a few creative, talented and ambitious people and groups out to make something rather beautiful out of these component parts and their own experiences.

Hip-hop and 80’s synth-pop are just two examples.

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The second idea that springs to mind is the shared history Youtube mashups, stencil artists like Le Rat, and graffiti artists might have with pop and modern art’s impulse to make meaning, often deeper meaning, out of what is at-hand in a large commercial society such as ours. All this takes might be a can of spray-paint, some basic technique, and a willingness to break the law where the law doesn’t often go.

On the higher-end, the art can be meant to spread and ‘democratize’ deeper artistic influences and ideas (a certain smugness there), while on the lower-end, a tag can be the nothing more a than a guy taking a piss on a wall with a spray-can.  The high-low dynamic can be intoxicating.

Yet, there are beautiful things to be found, however, especially when and where one looks for beauty.

There seems a basic desire in us to make something that will last and that will endure, to copy what works, and to aim for beauty and try and transcend and give meaning to our own experiences and circumstances.

The need to discover and share meaning through aesthetic influence and preference likely isn’t going anywhere either. From gangs to high-school cliques to art houses, from individual taggers to the loftiest aesthete and critic, there’s a whole lot of judgment and self-identification constantly going on in human affairs through through the process of judging what we like and don’t like, which group we may be a part of and which we may not at any point in time.

Back to the piece:

‘Hugely influential on today’s generation of graffiti artists, Le Rat’s counter-iconography continues to cut across time periods, media, and styles while still paying tribute to the iconic works and masters he uses in his work.’

Images surround us in the form of  thousands of prints, photos, comic book art, cartoons, advertisements etc that first drove a lot of modernism and its subsequent reactions in Pop Art.

Robert Hughes really didn’t like the lack of acquired skill and mastery of materials many moderns lack.

There have been a lot of virulent reactions to ‘modern’ life and technology ranging from utopian futurism to nihilism to consumerism and a kind of dejected anti-consumerism and spiritual malaise.

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Camille Paglia wants to tilt the culture more towards art education, but manages to resist the more virulent strains of secular ideology filling the modern hole, pushing back against the radicalism of feminist ideology when it encroaches upon aesthetics:

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You don’t need Debussy when you’ve got Paul Mauriat.

What if eternity is listening to well-done orchestral elevator music?

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Some Links On 5Pointz, Graffiti, & The Arts–Property Rights & The Rule-Of-Law

Heather MacDonald At The City Journal: ‘Radical Graffiti Chic’

So, You’re Telling Me What’s Cool?-Theodore Dalrymple At The City Journal: ‘Banksy In Neverland’ What are these people doing with art?:  Often combining them with a Left-of-Center political philosophy as they are at NPR for popular consumption.

On this site, see: From ReasonTV Via Youtube: ‘Ken Burns on PBS Funding, Being a “Yellow-Dog Democrat,” & Missing Walter Cronkite’Repost-From NPR: Grants To The NEA To Stimulate The Economy?

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
Sunday Quotation: Edmund Burke On The French Revolution

For Commerce Or Contemplation?-Felix Salmon At Reuters: ‘Is This The End Of The Art-Market Bubble?’

Full piece here.

Distinguishing between a bubble, and a speculative bubble, Salmon suggests there are signs that the art market could be a speculative bubble at this point, primarily ‘fueled by flippers:’

Here are his four reasons why:

-‘Firstly, galleries don’t have faith in their own prices.’

-‘Secondly, we might be seeing the smart money rushing to the exits.’

-‘Thirdly…’sellers are suddenly more willing to use the auction houses as a place to sell their works.’

-Finally, the quality of the buyers at auction might be weakening, with art-world types being replaced by — for lack of a better word — rich chumps’

You don’t want to end-up a chump, rich or not.

Ought the art-market be subject to similar regulations and practices as financial markets?  Is there something so inherently subjective and unquantifiable about art that disqualifies developing a code of ethics in art markets?

Below is an Intelligence Squared video in which two sides debate those very same questions in “The Art Market Is Less Ethical Than The Stock Market.

Addressed are ideas which will clarify some of Salmon’s claims (do art galleries ever have faith in their own prices?), but it’s not a specific response to the current state of the art-market.  Salmon may well be correct:

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On a related note: Check out Art Basel in Miami, where modern-art and marketing, artists of various talent, self-promoters, gallery owners and buyers meet.  It strikes this blog as a glitzy flea-market of high and low.

Art Basel is also promoted as civic-boosting and good business for the city of Miami.  No doubt it is, but I suspect the Superbowl and/or guided tours to the Versace mansion can also serve the same purpose.  Good art and truly unique and visionary artists are going to be in tension with these kinds of shows.

Yet it’s a free country, and some of the art can be quite good:

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On yet another related note: 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.

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.

Many modern artists, from Andy Warhol to Jeff Koons to Damien Hirst are people with some artistic talent and native gifts, but not as much in the way of classical and/or formal training.  They may be trying to have a conversation with the old masters, but they are clearly also the products of, and speaking to, ‘modern’ audiences.  Much of this has become a world of shallow depth, especially among the less talented. Drawing and drafting can be underdeveloped skills while ‘mixed-media’ presentations, celebrity, marketing, money and fame are all thrown into the same pot.

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

I’d argue that the relative freedom that markets allow, and the shape they give culture along with the pull of democratization can create this type of modern artist in Anglo-American life.

This isn’t advocacy for either a lack of open markets, nor a lack of good art, nor even the lack of certain ideals I find persuasive guiding our constitutional republic with a functioning democracy.  Rather, it’s just an observance that this state of affairs can also invite in ideologies which are hostile to open markets, such as Marxism, which ultimately seeks to subjugate art under its umbrella.

Camille Paglia, child of the 60’s, thinks there’s room for re-thining art-education in American schools, tilting the culture in a direction she’d like to see it go:

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

Related On This Site:  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

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’

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

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

A Reaction To Jeff Koons ‘St John The Baptist’

What about the victims of crime, not all this romanticization of criminals?:  Heather MacDonald At The City Journal: ‘Radical Graffiti Chic’.

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…See the comments Repost-Camille Paglia At Arion: Why Break, Blow, Burn Was SuccessfulUpdate And Repost: ‘A Few Thoughts On Allan Bloom–The Nietzsche / Strauss Connection’

Institutionalized Leftism in the Arts:  From ReasonTV Via Youtube: ‘Ken Burns on PBS Funding, Being a “Yellow-Dog Democrat,” & Missing Walter Cronkite’Repost-From NPR: Grants To The NEA To Stimulate The Economy?

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

So, You’re Telling Me What’s Cool?-Theodore Dalrymple At The City Journal: ‘Banksy In Neverland’

Full piece here.

Banksy’s website here.

Here’s what much of that ‘meta’ commentary on commerce and transgressive street-art might get you.  Local thugs charging those Banksy groupies to see his art.  Isn’t it ironic, don’t you think?:

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Dalrymple:

‘The enormous interest his work arouses, disproportionate to its artistic merit, shows not that there is fashion in art, but that an adolescent sensibility is firmly entrenched in our culture.  The New York Times reports that a lawyer, Ilyssa Fuchs, rushed from her desk the moment she heard about Banksy’s latest work and ran more than half a mile to see it.  Would she have done so if a delicate fresco by Peiro della Francesca had been discovered in Grand Central Terminal?  In the modern world, art and celebrity are one.  And we are all Peter Pan now:  We don’t want to grow up.’

Well, I certainly hadn’t noticed an adolescent sensibility at the NY Times.  Certainly not.

An image of one of those Peiro della Francesca frescoes here.

Perhaps it’s worthwhile to view Banksy as a kind of poor man’s Damien Hirst:   A ‘working-class’ British guy with some native talent but not too much in the way of formal training nor arguably lasting artistic achievement (perhaps in the ‘graffiti’ world).  Instead of working as a gallery, mixed-media modern installation artist like Hirst, he’s followed the street-graffiti path leaving ‘transgressive’ messages on politics and ethics scrawled across the cityscape in anonymity.  For all his irony, and the fact that he’s likely in on the joke, Banksy still finds himself subject to the larger forces at work where art, money, & fame are meeting.

As a girl in Seattle here mentioned to me at a party:  ‘His work is a meta-commentary on art, commerce, greed, creativity and all that.  His becoming a commodity is the ultimate irony.’

Deep, man, deep.

Yet, as to Dalrymple’s point, I could imagine an adult sneaking off to check out a Michaelangelo fresco with childlike anticipation, and maybe even a little childish or adolescent delight at being the first to arrive.  Of course, I think that fresco tends to engender a much deeper and complex response than that of Banksy’s work and ‘social commentary’, but the desire for beauty, hope, and brief bursts of transcendence aren’t going anywhere.   This reminds me of Richard Wilbur’s poem:  ‘First Snow In Alsace.‘  which evokes the grim realities of war and suffering covered up by a beautiful snowfall.

Here are the last stanzas and line:

…You think: beyond the town a mile
Or two, this snowfall fills the eyes
Of soldiers dead a little while.

Persons and persons in disguise,
Walking the new air white and fine,
Trade glances quick with shared surprise.

At children’s windows, heaped, benign,
As always, winter shines the most,
And frost makes marvelous designs.

The night guard coming from his post,
Ten first-snows back in thought, walks slow
And warms him with a boyish boast:

He was the first to see the snow.

The worst war can bring is juxtaposed against our simple childlike wonder (and possibly childish) delight at that which is beautiful and mysterious in nature.  Of course, such desires can help cause the destruction of war, too, but…hey.   People love to be the first and the coolest.  As Dalrymple argues above, these childish impulses are the ones that should not be so easily encouraged nor celebrated, especially by Banksy nor his reviewers at the NY Times.  I pretty much agree.

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Performance artist Marina Ambramovic and Jay-Z are together at last during a 6-hour lip sync performance-art pieceto promote Mr Z’s new album.

Still, it’s probably more engaging than Tilda Swinton in a box.

Maybe Jeff Koons got there first, where marketing, money, and branding met pop art:  A Reaction To Jeff Koons-For Commerce Or Contemplation?

***I’d currently argue that in a successful commercial culture such as ours, with such strong tensions between the individual artist and the demos, and such high and low-art available, and where we’re awash in pop culture, music & entertainment, it’s natural to have strong debate going as to what’s ‘cool’ and what’s good art.  Clearly, religion and religious duties come into constant tension with both commerce and art.  Clearly, that commercial culture has formed a celebrity culture which is also affecting our politics.  Clearly, whether or not you’re an art snob, an aesthete, or a secularly or religiously moral person, you can easily see how that culture produces a lot of crap, and can arouse the base desires in people which can be as harmless as a crush, sexual longing, a desire for romantic love and/or the cult-like worship.

Here’s Robert Hughes being especially critical of an Andy Warhol modern art collector, and where money, marketing, art and fame meet:

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Addition:  I’ve gotten a few emails suggesting this is too negative.  Bah.  I like some of Banksy’s work for it’s cleverness and wit, and his experience in doing what he does.  Beyond that, not too much and there’s way too much hype.

Another Addition:

Related On This Site:  Jay Z And Marina Abramovic Via Twitter: A Pop-Rap Art Marketing Performaganza

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’… some people don’t want you to have the economic freedom to live in the suburbs: From Foreign Policy: ‘Urban Legends, Why Suburbs, Not Cities, Are The Answer’

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

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’