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.
‘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.’
‘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’
‘…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.’
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.‘
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.
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;..