Repost-The Duran Duran Phenomenon, High And Low Art In The Modern Anglosphere

For you kids out there, Duran Duran are a band from Birmingham, England who made it big in the 80’s. They succeeded with genuine musical talent, technical and marketing prowess, a new-romantic visual-style, and presumably, somewhat deeper artistic aspirations.

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There are, no doubt, trade-offs people in the Anglosphere make, living with our particular Anglo-focus upon government, law, trade, and generally speaking, more open markets. There are reasons English is spoken so widely, after all, while the food has remained so bad.

Traveling abroad while younger, I often observed the American genius as a kind of egalitarian gathering of talent; general and specialized, ambitious and organized.

Such ‘Americanness’ can be shrewd, though it often comes with a certain optimism and idealism, for which Americans are known.

This is the stuff of American diplomacy, international lawyering, and business management. American advertising techniques, Hollywood movies, franchises like Starbucks and Apple, all can earn almost instant global recognition (if you’re not too far off the beaten path).

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That said, deeper artistic aspirations also tend to seek nourishment apart from such commercial populism and American egalitarianism in particular.

The accomplished artist probably had a lot of natural talent to begin with, but also joins in conversation with serious past talent and endures critique of his development, spends years of life engaged in hard work, and perhaps profits from greater tilt in the culture towards admiration for artists in general.

See: ‘Tradition And The Individual Talent’

This can send many American artists out on a mission to gain technique and skills elsewhere. This can fill many American cultural critics with a sense of European yearning and envy, and this can leave some Americans indulging in rather cheap, unimaginative commercialist America-bashing that usually lines-up with preconceived political/ideological commitments.

It’s here in the modern to postmodern to wherever-we’re-heading-now that, as an American, I find much of my daily life being lived.

For me and many of my fellows, the latest shows, pop-music, games and movies are the culture, even though we all have deeper ambitions and aspirations, and even if much of that culture has deeper roots of which we remain unaware.

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Here’s Robert Hughes from The Guardian on Damien Hirst: ‘Day Of The Dead’

‘If there is anything special about this event, it lies in the extreme disproportion between Hirst’s expected prices and his actual talent. Hirst is basically a pirate, and his skill is shown by the way in which he has managed to bluff so many art-related people, from museum personnel such as Tate’s Nicholas Serota to billionaires in the New York real-estate trade, into giving credence to his originality and the importance of his “ideas”. This skill at manipulation is his real success as an artist. He has manoeuvred himself into the sweet spot where wannabe collectors, no matter how dumb (indeed, the dumber the better), feel somehow ignorable without a Hirst or two.’.

I’m guessing Hughes loathed such confusion over money, art, fame, and our deepest aspirations, and thought such an approach prevents everyday people from entering into conversations with the everyday in great works of art. I find myself attracted to his marriage of Anglo-tradition and more ‘high’ European art-criticism.

For my part, I’d simply argue that more open markets in the Anglo-sphere offer a lower bar to reach a larger audience with one’s artistic ambitions. Such a marriage of art + market may be less likely to happen, in, say, Spain or France.

Perhaps this is true of Duran Duran, Damien Hirst, and various others with some natural talent and access to a wider audience through a global supply-chain.

This lower bar, in turn, can allow for perhaps more questionable art and marketing jargon; postmodern concept-shilling and various bullshit promising freedom within stale ideology and often poorly-executed art.

Or, at least, the above comes with its own Anglo-character.

(Addition: I should add that it gives more people easier access to make and gain exposure to the arts, which benefits a lot more people, but also puts the artist, and modernists, especially, in tension with the really hard task of making something beautiful which can last. Does good art have to be hard, and be made free of ‘The People?,’ or at least the passing fads, genres and styles that come and go?)

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Thanks to a reader for the link:

From The Daily Beast: ‘Get Into Bed With Tracey Emin For $2 million: The Sale Of A British Art Icon.’

“My Bed” will be sold at auction at Christie’s on July 1, and has been given an estimate price of between £800,000 and £1.2m (approximately $1.35 million to $2 million), which seems astonishingly low given the piece’s cultural impact. Indeed, David Maupin, Emin’s dealer in New York who sold the bed to Saatchi in 2000 for £150,000 (about $252,000), has said he thinks the Christie’s estimate is too low. “It’s historic. It’s priceless.”

———————–

‘Cultural impact.’ So, a lot of people noticed it? It took a lot of technical skill? People were shocked by it? People had a strong reaction after seeing it in person?

It made her a celebrity?

I generally prefer the art dealer’s self-interested marketing bulls**t to a journalist’s ‘cultural impact’ claptrap.

Quote found here at friesian.com:

‘Oddly enough, it is the intellectual snobbery and elitism of many of the literati that politically correct egalitarianism appeals to; their partiality to literary Marxism is based not on its economic theory but on its hostility to business and the middle class. The character of this anti-bourgeois sentiment therefore has more in common with its origin in aristocratic disdain for the lower orders than with egalitarianism.’

Related: From Darwinian Conservatism: Nietzsche-Aristocratic Radical or Aristocratic Liberal?

Another pomo quote from Dr. Stephen Hicks:

‘In the shorter term, postmodernism has caused an impoverishment of much of the academic humanities, both in the quality of the work being done and the civility of the debates. The sciences have been less affected and are relatively healthy. The social sciences are mixed.

I am optimistic, though, for a couple of reasons. One is that pomo was able to entrench itself in the second half of the twentieth century in large part because first-rate intellectuals were mostly dismissive of it and focused on their own projects. But over the last ten years, after pomo’s excesses became blatant, there has been a vigorous counter-attack and pomo is now on the defensive. Another reason for optimism is that, as a species of skepticism, pomo is ultimately empty and becomes boring. Eventually intellectually-alert individuals get tired of the same old lines and move on. It is one thing, as the pomo can do well, to critique other theories and tear them down. But that merely clears the field for the next new and intriguing theory and for the next generation of energetic young intellectuals.

So while the postmodernism has had its generation or two, I think we’re ready for the next new thing – a strong, fresh, and positive approach to the big issues, one that of course takes into account the critical weapons the pomo have used well over the last while’

 

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

Full piece here.

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

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

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

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

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

Murray:

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

and:

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

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

Two quotes by Hughes that stood out:

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

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

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

On that note, some previous links and quotes:

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

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

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

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

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

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

Thanks, reader:

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

-Banksy’s website here.

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

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

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

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

Choose the form of your destructor:

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

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

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

Repost-The Duran Duran Phenomenon, High And Low Art In The Modern Anglo-Sphere

For you kids out there, Duran Duran are a band from Birmingham, England who made it big in the 80’s. They succeeded with genuine musical talent, technical and marketing prowess, a new-romantic visual-style, and presumably, somewhat deeper artistic aspirations.

————–

There are, no doubt, trade-offs people in the Anglosphere make, living with our particular Anglo-focus upon government, law, trade, and generally speaking, more open markets. There are reasons English is spoken so widely, after all, while the food has remained so bad.

Traveling abroad while younger, I often observed the American genius as a kind of egalitarian gathering of talent; general and specialized, ambitious and organized.

Such ‘Americanness’ can be shrewd, though it often comes with a certain optimism and idealism, for which Americans are known.

This is the stuff of American diplomacy, international lawyering, and business management. American advertising techniques, Hollywood movies, franchises like Starbucks and Apple, all can earn almost instant global recognition (if you’re not too far off the beaten path).

As an American, I claim a certain pride, here.

——————

That said, deeper artistic aspirations also tend to seek nourishment apart from such commercial populism and American egalitarianism in particular.

The accomplished artist probably had a lot of natural talent to begin with, but also joins in conversation with serious past talent and endures critique of his development, spends years of life engaged in hard work, and perhaps profits from greater tilt in the culture towards admiration for artists in general.

See: ‘Tradition And The Individual Talent’

This can send many American artists out on a mission to gain technique and skills elsewhere. This can fill many American cultural critics with a sense of European yearning and envy, and this can leave some Americans indulging in rather cheap, unimaginative commercialist America-bashing that usually lines-up with preconceived political/ideological commitments.

It’s here in the modern to postmodern to wherever-we’re-heading-now that, as an American, I find much of my daily life being lived.

For me and many of my fellows, the latest shows, pop-music, games and movies are the culture, even though we all have deeper ambitions and aspirations, and even if much of that culture has deeper roots of which we remain unaware.

————–

Here’s Robert Hughes from The Guardian on Damien Hirst: ‘Day Of The Dead’

‘If there is anything special about this event, it lies in the extreme disproportion between Hirst’s expected prices and his actual talent. Hirst is basically a pirate, and his skill is shown by the way in which he has managed to bluff so many art-related people, from museum personnel such as Tate’s Nicholas Serota to billionaires in the New York real-estate trade, into giving credence to his originality and the importance of his “ideas”. This skill at manipulation is his real success as an artist. He has manoeuvred himself into the sweet spot where wannabe collectors, no matter how dumb (indeed, the dumber the better), feel somehow ignorable without a Hirst or two.’.

I’m guessing Hughes loathed such confusion over money, art, fame, and our deepest aspirations, and thought such an approach prevents everyday people from entering into conversations with the everyday in great works of art. I find myself attracted to his marriage of Anglo-tradition and more ‘high’ European art-criticism.

For my part, I’d simply argue that more open markets in the Anglo-sphere offer a lower bar to reach a larger audience with one’s artistic ambitions. Such a marriage of art + market may be less likely to happen, in, say, Spain or France.

Perhaps this is true of Duran Duran, Damien Hirst, and various others with some natural talent and access to a wider audience through a global supply-chain.

This lower bar, in turn, can allow for perhaps more questionable art and marketing jargon; postmodern concept-shilling and various bullshit promising freedom within stale ideology and often poorly-executed art.

Or, at least, the above comes with its own Anglo-character.

(Addition: I should add that it gives more people easier access to make and gain exposure to the arts, which benefits a lot more people, but also puts the artist, and modernists, especially, in tension with the really hard task of making something beautiful which can last. Does good art have to be hard, and be made free of ‘The People?,’ or at least the passing fads, genres and styles that come and go?)

————————

Thanks to a reader for the link:

From The Daily Beast: ‘Get Into Bed With Tracey Emin For $2 million: The Sale Of A British Art Icon.’

“My Bed” will be sold at auction at Christie’s on July 1, and has been given an estimate price of between £800,000 and £1.2m (approximately $1.35 million to $2 million), which seems astonishingly low given the piece’s cultural impact. Indeed, David Maupin, Emin’s dealer in New York who sold the bed to Saatchi in 2000 for £150,000 (about $252,000), has said he thinks the Christie’s estimate is too low. “It’s historic. It’s priceless.”

———————–

‘Cultural impact.’ So, a lot of people noticed it? It took a lot of technical skill? People were shocked by it? People had a strong reaction after seeing it in person?

It made her a celebrity?

I generally prefer the art dealer’s self-interested marketing bulls**t to a journalist’s ‘cultural impact’ claptrap.

Quote found here at friesian.com:

‘Oddly enough, it is the intellectual snobbery and elitism of many of the literati that politically correct egalitarianism appeals to; their partiality to literary Marxism is based not on its economic theory but on its hostility to business and the middle class. The character of this anti-bourgeois sentiment therefore has more in common with its origin in aristocratic disdain for the lower orders than with egalitarianism.’

Related: From Darwinian Conservatism: Nietzsche-Aristocratic Radical or Aristocratic Liberal?

Another pomo quote from Dr. Stephen Hicks:

‘In the shorter term, postmodernism has caused an impoverishment of much of the academic humanities, both in the quality of the work being done and the civility of the debates. The sciences have been less affected and are relatively healthy. The social sciences are mixed.

I am optimistic, though, for a couple of reasons. One is that pomo was able to entrench itself in the second half of the twentieth century in large part because first-rate intellectuals were mostly dismissive of it and focused on their own projects. But over the last ten years, after pomo’s excesses became blatant, there has been a vigorous counter-attack and pomo is now on the defensive. Another reason for optimism is that, as a species of skepticism, pomo is ultimately empty and becomes boring. Eventually intellectually-alert individuals get tired of the same old lines and move on. It is one thing, as the pomo can do well, to critique other theories and tear them down. But that merely clears the field for the next new and intriguing theory and for the next generation of energetic young intellectuals.

So while the postmodernism has had its generation or two, I think we’re ready for the next new thing – a strong, fresh, and positive approach to the big issues, one that of course takes into account the critical weapons the pomo have used well over the last while’

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

Full piece here.

-Koons gets the Annie Leibovitz treatment (an unfortunate photo at the link).

-This is not a commentary on Koons’ art, some of which I like well enough, it’s a much worse beast: Another attempt at cultural criticism.

In the talk around Koons, what often stands-out to me is how much talk there is about Koons himself, and the search for meaning in all that talk. The concept of artist-as-individual is nothing new: An isolated Self, quite apart from society, mining his interior life and experiences in order to represent beauty, meaning, and some attempt at expressing universal truths through his work and craft. This is unsurprisingly part of what all artists do, and the extreme individuality of this process is what Western artists somewhat consciously have been doing for a few centuries now, from musicians to writers to sculptors, from romanticism to modernism to post-modernism and beyond.

The fact that Koons is doing this with such relentless self-promotion and while also courting celebrity is arguably a much more ‘modern’ phenomenon. A certain amount of melliflous, abstract bullshit seems part of the Koons’ game, as if you’d walked onto a used-art lot as Koons tours you around, asking what’s-it-gonna-take-to-get-you-into-one-of-his-pieces, yet with soothing, professional demeanor, offering an invitation to return a part of of your Self to you and make you whole again within the work produced by his Self. Jeff Koons is a brand.

Perhaps this is what it takes these days to make a living by schmoozing with wealthy art-buyers, but in some ways, it has a distinctly American feel as well. High and low culture mix in a highly commercial, utilitarian way. The urge to merge abstract art and the avant-garde with mass, pop-culture is expressed. Fame and meta-critiques on fame, celebrity, money, the Self amplified for all the other Selfs to see has implications for much of our culture, I suspect.

As to establishing Koons’ bona fides enough to merit attention by Vanity Fair…here are a few quotes from the piece:

“Jeff is the Warhol of his time,” proclaims Adam Weinberg, the Whitney’s director.

Everyone’s getting in on the bullshit!

‘The reference to Curtis ties Koons to the last true avant-garde—a pedigree the artist likes. Curtis, who refused to be called a drag queen, was a pioneer of the L.G.B.T. movement and, like Candy Darling, was made famous by Warhol’

You need the cultural legitimacy of an L.G.B.T. blessing to be truly avant-garde these days.

‘What Warhol and Koons do have in common, though, is an uncanny ability to nail an image or an object so that it catches the Zeitgeist.’

Partially true, perhaps, but what if the Zeitgeist is nothing but a leafy suburb full of good schools, intact families, and moderate lives?  Isn’t this why some youngish people (ahem…many hipsters) often leave their small towns and suburbs looking for meaning, group membership and purpose in what can end-up vaguely collectivist and vaguely individualist lives in cities?

Everyone’s an artist, these days.

Establishing modernist credentials for the brand:

 ‘Koons’s job at MoMA gave him the opportunity to immerse himself in the history of modernism, in particular the ideas of Marcel Duchamp, who changed art history by showing how everyday objects, or “readymades,” could be elevated into the realm of art, depending on context. Duchamp’s theories were a revelation to Koons.’

Piketty and Brecht in the same paragraph:

‘Barbara Kruger, the artist whose unsentimental pronouncements have been cutting to the chase about the art world for decades, says “Oh boy” when I call to discuss Koons, whom she has known since they both were starting out in New York. She needed to think about it and later wrote me: “Jeff is like the man who fell to earth, who, in this grotesque time of art flippage and speculative mania, is either the icing on the cake or some kind of Piketty-esque harbinger of the return of Brecht’s ‘making strange.’

And finally, while I have no quarrel with neurosicence, pop-neuroscience is often a repository for the modern search for legitimate experiences and theories of the Self:

‘Dr. Eric R. Kandel, a Nobel Prize-winning neuroscientist, was so impressed with the show that he e-mailed Koons afterward. I asked Kandel why. He explained, “I have been interested in the ‘beholder’s share,’ an idea that came from the Viennese art historian Alois Riegl. It involves the concept that when a painter paints a painting or a sculptor makes a sculpture it is not complete unless a beholder, a viewer, responds to it.”

Kandel adds, “When you looked at the sculptures you saw yourself embedded in the gazing balls. Artists sometimes put mirrors in works, but they don’t design the work so that you find yourself in the arms or chest of a statue, which is what Jeff did.’

Go and find your Self and be made whole, dear reader, within Jeff Koons’ work and the Jeff Koons brand, and try and tell the dancer from the dance.

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

I suspect Made In Heaven explores previous themes of high and low that were already emerging in his kitsch work, fleshed out in pieces like Michael Jackson And BubblesWinter 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: Woman… Goethe’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’