Modern Art — rebelling against aesthetics, taste, God, America, and basic drafting standards

Virgin and Child by Jan van EyckMy graphic artistic skill doesn’t extend much beyond stick figures and daisies, and my rather limited visual sense means that my home was designed more with an eye to utility than aesthetics.  Despite my personal limitations, I’m actually very fond of, and quite knowledgeable about, art.

More specifically, I’m fond of and knowledgeable about art through the early 20th century. I’ve taken numerous art history classes and can discuss with some sophistication all manner and times of sculpture and painting. I’ve been to most of the great museums in the Western world,* and bored my children silly by dragging them through the galleries and trying to instill in them some appreciation for technique and symbolism.  (I think the kids were a bit taken aback when I, who never cry, actually got all teary-eyed in the Louvre at the sight of Van Eyck’s Madonna of Chancellor Rolin, a detail of which heads this post.)

Because I am passionate and knowledgeable about classic art, I have very strong feelings about modern art. Some of it is clever, some of it is visually appealing, and the best of it shows technical mastery combined with a strong aesthetic sense.  The artist who springs most readily to my mind when I think of exquisite craftsmanship and rare beauty is Dale Chilhuly, the master glass craftsman.  You’ll see some his most beautiful pieces, not in museums, but in casinos, most notably at the Bellagio in Las Vegas.  (Chilhuly’s own website has some beautiful photographs, if you haven’t seen his work before.)

Too much modern art, though, exhibits neither aesthetic appeal nor craftsmanship.  It’s cheap and ugly.  Before I became politically aware, I thought that modern art’s decline was traceable to only two things: the rise of photography and the fall of God. The first made technical mastery seem redundant, while the second destroyed the impulse to dedicate ones highest skills to the greater glory of God and his creations (including mankind).

I’ve since expanded my original theory about photography’s and atheism’s effects on art.  I now also see that an anti-American, anti-capitalist, anti-Enlightenment ideology also drives modern art. I expanded on that theory in 2011, after a visit to the Los Angeles County Museum of Art, and I’ll quote here the relevant passages from that earlier post:

[At the museum] we wandered about a bit, and found ourselves in vast space housing a collection funded by Eli and Edythe Broad.  It was very modern.  There was a giant fish tank, filled with clear acrylic, in which there appeared to be floating three half-submerged basketballs.  Next to it was a glass display case with three shelves, each containing several electric floor polishers, all resting horizontally.  There was a giant, maroon, shiny egg, broken in two pieces, as if a metallic lizard had recently hatched.  There were several pieces of wood, not quite as big as 2 x 4s, nailed together in a seemingly random pattern.  There was a chain link fence with metal sculptures mounted upon it, each of which was skillfully crafted to look like a child’s plastic pool toy.

There was also a very lovely young woman there, a museum employee (or, perhaps, a volunteer) who was happy to explain what all this stuff meant.  She told us that it illustrated “social mobilism.”  That was a conversation stopper.  By the time we’d processed this bit of linguistic nonsense, she was speaking to other people, and it would have been rude to interrupt to seek further enlightenment.

The more I thought about it, though, the more intrigued I became by that silly phrase.  In the past, art served three purposes:  it glorified the rich and powerful; it glorified God, and, in a pre-photographic era, it recorded the world around us.  To be worthy of artistic respect, all three of those goals required skill and elegance.  Nowadays, though, art is the equivalent of a lost soul.  God is dead (at least in the art world); the rich and power live on television and in glossy magazines; and every cell phone enables us to record our world with almost nauseating frequency.

For those who have graphic skills, money resides, not in cozying up to power brokers (as did the artists who served the Medicis, the Popes, or the various European monarchs), but in providing commercial images, whether for movies, magazines, posters, or anything else.  We may admire the craftperson’s skill, but we don’t call it “art.”

Because the modern world imposes severe limitations on what was once the artist’s purview, the only thing left for the person with genuine artistic talent — or mere artistic pretension — is to produce things that make the critics happy.  If you can’t have wealth, at least you can have praise from a rarefied class of academics and “art” magazine journalists.  It won’t pay the rent, but it will make you feel good about yourself.

These critics, living in or coming from academia, all hew Left.  To them, it’s only art if it challenges what they perceive as America’s failings:  her religiosity; her crass commercialism; her grim, depressing people; and her sexual perversions.  Art, in other words, is anti-American.

Of course, one can’t say that out loud, because Americans, who are generous people and interested in self-improvement, might baulk at being told that they’re spending their money to be denigrated and ridiculed.  So the art world comes up with lovely phrases such as “social mobilism,” which not only serve as a cover for a deep cultural animosity, but also make the self-styled art class feel special.

Keeping in mind the art world’s deep hostility to America, it’s hardly surprising that one of the most recent exhibits to hit the art world celebrates graffiti or, as some of us still call it, vandalism.  In City Journal, Heather MacDonald takes a look at the Los Angeles Museum of Contemporary Art’s newest exhibit, Art in the Streets — or to cut through the euphemism, Scrawls on Walls that Destroy Communities:

There is no clearer example of the power of graffiti to corrode a public space than the fall and rebirth of New York’s subways. Starting in the late 1960s, an epidemic of graffiti vandalism hit the New York transit system, covering every subway with “tags” (runic lettering of the vandal’s nickname) and large, colored murals known as “pieces.” Mayor John Lindsay, an unequivocal champion of the urban poor, detested graffiti with a white-hot passion, but he was unable to stem the cancer. The city’s failure to control graffiti signaled that the thugs had won. Passengers fled the subways and kept going, right out of the city. To the nation, the graffiti onslaught marked New York’s seemingly irreversible descent into anarchy.

Yet in the late 1980s, the city vanquished the subterranean blight by refusing to allow scarred cars onto the tracks. That victory was a necessary precondition for the Big Apple’s renewal in the following decade; it was the first sign in years that New York could govern itself. Riders flooded back—by 2006, 2 million more passengers each day than in the eighties. The subway’s rising ridership was a barometer of the city’s rising fortunes.

What could be more artistic than something that doesn’t just mock America, but that actually hurts her? That’s social mobilism in a nutshell.

Thanks to a new Prager University video, I need to expand even more my list of trends and beliefs that have destroyed “art” and left in its place nothing more than a mess, enlivened by occasional works of aesthetic delight (see Chilhuly, above). According to Robert Florczak, a distinguished artist and art educator, the 20th century devotion to “relativism” has also destroyed art. If no one is allowed to define art or beauty or skill or technique, “art” is at the mercy of every viewer’s opinion — or, more to the point, it’s at the mercy of every cant-spouting, Left-leaning art critic, who maintains his position in the art world by opining whether something is, or is not, art. Think of the critics as being the little girl in this famous New Yorker cartoon from 1925:

I say it's spinach

Substitute “art” for spinach, and — voila! — you’ve got a critic.

Oh, and here’s the Prager U video:


_________________________________
*I really have been to some great museums, in addition to San Francisco’s own de Young (with its spectacular Americana collection) and the Legion of Honor. Over the years, I’ve been privileged to visit the Met, MOMA, the Frick Museum, SFMOMA, the Tate Gallery, both America’s and England’s National Galleries, the Louvre, the Vatican collection, the Uffizi Museum, the Rijksmuseum, the Hermitage, as well as so many smaller, specialty museums along the way that I can’t even summon all the names to mind. I am not exaggerating when I say I know art.

I may have to revisit my opinion about Banksy, since he’s challenged the craven New York Times

My post title is somewhat misleading, because I actually don’t have an opinion about the artist Banksy.  You can’t revisit what never existed.  Up until about ten minutes ago, I didn’t care about him one way or the other, neither to like nor to dislike; nor to respect nor to revile.  For me, his name is familiar; everything else about him has, in the past, fallen into the “whatever” category.

However, Banksy’s opinion about the building rising at Ground Zero in New York suggests that he’s more than a “whatever.”  It’s not just that the piece demands that the City itself not cry craven at Ground Zero but, instead, bravely assert itself in the wake of 9/11 (never mind that it’s taken 12 years even to start building something).  What really makes Banksy’s latest move unusual is that he calls out The New York Times for its own craven behavior when it comes to an opinion piece demanding better for New York.

Banksky printed at his personal blog an editorial that the NYT refused to run.  Why?  One can guess.  Banksy just states the facts. “Today’s piece was going to be an op-ed column in the New York Times. But they declined to publish what I supplied. Which was this…”

Banksy's banned New York Times opinion piece

In the same post, Banksy includes some new art work illustrating censorship:

Banksy censorship illustration

Our suspicion is that the Times wants desperately to pretend that 9/11 never happened because it is an invitation to cognitive dissonance.  Islam is not a religion of piece, al Qaeda is not gone, and Barack Obama hasn’t made America more safe.  An op-ed demanding that the new tower trumpet America’s triumph over a foul ideology is simply unacceptable to a media institution drowning in dhimmitude.

So, when it comes to Banksy, there’s definitely more there than has met my eye. I I’m prepared to respect any society darling who has the decency to attack The New York Times.  Most people in society desperately crave the Times’ approval, so it’s very rare indeed for an insider to speak out.

What is art? *UPDATED*

Blouin ArtInfo is out with a slide show purporting to identify the 25 most iconic pieces of art in the past five years.  One of them is Shepard Fairey’s famous, and much pwned image of Obama’s face (illegally stolen from an AP photo), over the word HOPE. The rest you might not recognize. For example, there is one artist’s decision to let ordinary people perform in public (we used to call that “the buskers of Fisherman’s Wharf”). Then there’s a long, slow video of an empty McDonald’s filling with water. And if those don’t float your boat, there’s a museum floor mopped with a solution containing human blood.

Art?  I don’t know.

In the old days, art had three purposes:  to worship God, to record the world in a pre-photographic era, and to create beauty.  I think you will agree with me that none of the 25 art pieces do that (except, perhaps, for the Obama poster, which is clearly God worship).  What are these pieces then and why are they called “art”?  That is, what distinguishes them from any other graphic “thing,” such as a nice piece of furniture, a large rock in the backyard, a messy room, etc.

Your comments would be welcome.  My own sense looking at these things is that the art world, if pressed to be honest, would say that anything that elevates Leftism, and that denigrates capitalism and conservative values, is art.

UPDATEThe Razor’s non-council submission this week for the Watcher’s Council is The Tyranny of Artistic Modernism.  It seems apropos.

 

Art for money’s sake

I blame two things for the current state of modern art: the camera and the denigration of faith. When art was both the sole way to record this life and the most reverent way to pay homage to faith and the after life, artists brought their best efforts to play, and both buyers and viewers had appropriately high expectations.

When art lost its two raisons d’être, artists were reduced to producing decorations or to claiming that they offer the great unwashed some “deeper” meaning and insights through their “creative” efforts. Some are really trying; others are pretentious boors; and still others are scammers, pure and simple.

“Social mobilism,” or the anti-Americanism of modern American art *UPDATED*

Back in December, I went to the Los Angeles County Museum of Art (“LACMA”) to see an exhibit entitled “Fashioning Fashion: European Dress in Detail, 1700-1915.”  Historic European and American fashion has always been something of a hobby of mine, so I was excited when I first heard about the exhibit.  I wasn’t disappointed.  The exhibit contained a very large, beautifully displayed, well-explained collection of European fashions from 1700-1915.  It was a lovely reminder of a time when clothes, at least clothes for the middle classes and wealthy, were hand-made, with exquisite attention to detail and decoration.  In other words, the clothes were a perfect example of the decorative arts.

Since we were at LACMA, after admiring the clothes, we wandered about a bit, and found ourselves in vast space housing a collection funded by Eli and Edythe Broad.  It was very modern.  There was a giant fish tank, filled with clear acrylic, in which there appeared to be floating three half submerged basketballs.  Next to it was a glass display case with three shelves, each containing several electric floor polishers, all resting horizontally.  There was a giant, maroon, shiny egg, broken in two pieces, as if a metallic lizard had recently hatched.  There were several pieces of wood, not quite as big as 2 x 4s, nailed together in a seemingly random pattern.  There was a chain link fence with metal sculptures mounted upon it, each of which was skillfully crafted to look like a child’s plastic pool toy.

There was also a very lovely young woman there, a museum employee (or, perhaps, a volunteer) who was happy to explain what all this stuff meant.  She told us that it illustrated “social mobilism.”  That was a conversation stopper.  By the time we’d processed this bit of linguistic nonsense, she was speaking to other people, and it would have been rude to interrupt to seek further enlightenment.

The more I thought about it, though, the more intrigued I became by that silly phrase.  In the past, art served three purposes:  it glorified the rich and powerful; it glorified God, and, in a pre-photographic era, it recorded the world around us.  To be worthy of artistic respect, all three of those goals required skill and elegance.  Nowadays, though, art is the equivalent of a lost soul.  God is dead (at least in the art world); the rich and power live on television and in glossy magazines; and every cell phone enables us to record our world with almost nauseating frequency.

For those who have graphic skills, money resides, not in cozying up to power brokers (as did the artists who served the Medicis, the Popes, or the various European monarchs), but in providing commercial images, whether for movies, magazines, posters, or anything else.  We may admire the craftperson’s skill, but we don’t call it “art.”

Because the modern world imposes severe limitations on what was once the artist’s purview, the only thing left for the person with genuine artistic talent — or mere artistic pretension — is to produce things that make the critics happy.  If you can’t have wealth, at least you can have praise from a rarefied class of academics and “art” magazine journalists.  It won’t pay the rent, but it will make you feel good about yourself.

These critics, living in or coming from academia, all hew Left.  To them, it’s only art if it challenges what they perceive as America’s failings:  her religiosity; her crass commercialism; her grim, depressing people; and her sexual perversions.  Art, in other words, is anti-American.

Of course, one can’t say that out loud, because Americans, who are generous people and interested in self-improvement, might baulk at being told that they’re spending their money to be denigrated and ridiculed.  So the art world comes up with lovely phrases such as “social mobilism,” which not only serve as a cover for a deep cultural animosity, but also make the self-styled art class feel special.

Keeping in mind the art world’s deep hostility to America, it’s hardly surprising that one of the most recent exhibits to hit the art world celebrates graffiti or, as some of us still call it, vandalism.  In City Journal, Heather MacDonald takes a look at the Los Angeles Museum of Contemporary Art’s newest exhibit, Art in the Streets — or to cut through the euphemism, Scrawls on Walls that Destroy Communities:

There is no clearer example of the power of graffiti to corrode a public space than the fall and rebirth of New York’s subways. Starting in the late 1960s, an epidemic of graffiti vandalism hit the New York transit system, covering every subway with “tags” (runic lettering of the vandal’s nickname) and large, colored murals known as “pieces.” Mayor John Lindsay, an unequivocal champion of the urban poor, detested graffiti with a white-hot passion, but he was unable to stem the cancer. The city’s failure to control graffiti signaled that the thugs had won. Passengers fled the subways and kept going, right out of the city. To the nation, the graffiti onslaught marked New York’s seemingly irreversible descent into anarchy.

Yet in the late 1980s, the city vanquished the subterranean blight by refusing to allow scarred cars onto the tracks. That victory was a necessary precondition for the Big Apple’s renewal in the following decade; it was the first sign in years that New York could govern itself. Riders flooded back—by 2006, 2 million more passengers each day than in the eighties. The subway’s rising ridership was a barometer of the city’s rising fortunes.

What could be more artistic than something that doesn’t just mock America, but that actually hurts her? That’s social mobilism in a nutshell.

Cross-posted at Right Wing News.

The Bookworm Turns : A Secret Conservative in Liberal Land,
available in e-format for $4.99 at Amazon or Smashwords.

UPDATEThis will help you understand the academic world that breeds the critics and museum curators.

Thinking like a soldier

One of my all time favorite books is Paul Fussell’s The Great War and Modern Memory. In it, Fussell looks at the World War I through the eyes of the hyper-literate soldier poets and writers whose names we still recognize today: Rupert Brooks, who died before his fellow literary artists began to realize that the war was merely a giant hopper for bodies; Robert Graves, who survived by viewing the war as a farce and a play; Siegfried Sassoon, who entered as an idealist and left as a grim, anti-War voice; and Wilfred Owen, who found war horrifying and then, when given the opportunity to leave, insisted on going back to become a war hero. It is Wilfred Owen about whom I write today, since there is a very moving article about him in The Telegraph:

It is true that he was not among the first to answer the call to bash the Boche. Indeed, he seems to have been a rather fey and precious young man, first as a vicar’s assistant in Berkshire, and then as an English teacher in France.

When he finally decided to join the Army (through the Artists’ Rifles, to fit with his own idea of himself as a poet, despite the fact that he was unpublished, and, frankly, not very good, either) he was repulsed by the coarseness of the men among whom he found himself.

But his letters to his mother – our main source of information about his life – show how much he changed. Initial distaste at the vulgarity of the sweaty, noisy men among whom he was obliged to live became a genuine love.

***

The vital event was the horrific experience of having to take shelter from German artillery fire on the side of a railway embankment. Owen was trapped there for days, lying amid the remains of a popular fellow officer. It triggered shell-shock.

***

The most remarkable aspect of Owen’s stay at the hospital, though, is the fact that he emerged not merely as the author of some of the most stunning poetry of the 20th century – and the voice of a generation – but that he was also determined to return to the front line.

Sassoon begged him not to go, and even threatened, at one point, to stab him in the leg to prevent him doing so.

But Owen would not be deterred, and the man who returned to France was a superb soldier. In one attack, in which he captured a German machine post and scores of prisoners almost single-handed, he writes to his mother with the extraordinary expression that he “fought like an angel”. The events earned him a Military Cross.

The last letter home, written at the end of October 1918, describes how he is sheltering with his men in the cellar of a forester’s cottage in northern France, before an attempt to cross the canal that marked the front line.

Crammed into the smoky fug – he says he can hardly see by the light of a candle only 12 inches away – the men are laughing, sleeping, smoking or peeling potatoes. “It is a great life,” he writes joyfully, and goes on, “you could not be visited by a band of friends half so fine as surround me here.”

Utterly wrong, then, to think of him as some sanctimonious hand-wringer. The paradox of Owen – that he had become a first-rate warrior while abominating war – is what gives his poems their unique strength.

***

And yet Owen did not live to see peace himself. After sheltering in the cellar, he and his men were deployed to the banks of the canal, at Ors. In the early morning of November 4, 1918, they were given the order to storm the canal, in the face of withering German machine-gun fire. Owen never reached the other side.

Seven days later, as his mother stood listening to the church bells peeling for the end of the war, she received the dreadful telegram with the news that her precious son was dead.

I think many in our military today would understand how Owen managed to have fear and a joyous camaraderie living side by side within him.  My Dad, who fought at Crete, El Alamein and all over North Africa for five years, still looked back on his service during WWII as the best days of his life.  They were the worst days, too, and came back to haunt him when he was dying, since the hallucinations always focused on key battles, but I don’t think he ever felt as alive, involved and engaged as he did surrounded by his brothers in arms.

Incidentally, if you would like to read Owen’s most famous poem, Dulce et Decorum Est, you can see an annotated copy here.

It was shocking then. Now it’s just bad.

There’s what I consider an intentionally funny story today about a radio station afraid of reading Howl on the air because it’s afraid it might run afoul of FCC rules governing broadcasting:

Fifty years ago today, a San Francisco Municipal Court judge ruled that Allen Ginsberg’s Beat-era poem “Howl” was not obscene. Yet today, a New York public broadcasting station decided not to air the poem, fearing that the Federal Communications Commission will find it indecent and crush the network with crippling fines.

Free-speech advocates see tremendous irony in how Ginsberg’s epic poem – which lambastes the consumerism and conformism of the 1950s and heralds a budding American counterculture – is, half a century later, chilled by a federal government crackdown on the broadcasting of provocative language.

In the new media landscape, the “Howl” controversy illustrates how indecency standards differ on the Internet and on the public airwaves. Instead of broadcasting the poem on the air today, New York listener-supported radio station WBAI will include a reading of the poem in a special online-only program called “Howl Against Censorship.” It will be posted on www.pacifica.org, the Internet home of the Berkeley-based Pacifica Foundation, because online sites do not fall under the FCC’s purview.

As you can see, the story makes a big point out of the fact that, 50 years ago, the Supreme Court held that it isn’t absence. That’s as may be. The problem, of course, isn’t that the overall work is obscene, it’s that it uses obscenities that are banned from the airwaves, because we are making a last ditch stand to have someplace where our kids won’t have to hear those words. Even the news report notes that standards differ on the internet, where parents can theoretically place blocking software, and public airwaves, where there’s nothing between a kid and whatever garbage may come spewing out of the radio dial.

Anyway, reading this silly story about a tempest in a teapot had me going back to look at Howl. How dirty is it, I asked myself.  I can confidently say, after struggling through the first two verses that its dirt is irrelevant. It’s just awful. Its only virtue 50 years ago was it’s shock value. Nowadays, where nothing is too shocking, it has nothing going for it. It simply stands out as a boring, somewhat illiterate screed by a very angry man.

Art

A few weeks ago, I did a “what is art” post. Aaron Johnson, an artist who uses a cartoon panel for social commentary at What The Duck, must have caught that post, because he was kind enough to send me a link to today’s cartoon. I have to say, “by George, I think he’s got it!”

(For reasons that are unclear to me, I can’t get a link directly to the cartoon panel. If you go there and don’t know which cartoon I’m talking about, it’s the cartoon for today, Friday, September 21, 2007, aka WTD 308.)

But is it art?

Frankly, I don’t care if this is art.  I think it’s wonderful.  As someone who never got past drawing a square or two on my Etch-a-Sketch, I was awestruck by what Jeff Gagliardi has done with the same medium.

What is art?

In the old days — pre-camera — I think that it was pretty easy to answer when asked “What is art?”.  Art served four major purposes: to elevate God, to aggrandize the rich and powerful, to decorate spaces, and to record images in a pre-photographic era. Some stuff was good, some stuff was awful. The good lasted.

And then the world changed. No one in the West wants to elevate God anymore. Indeed, the most elevated art amongst the self-styled “intelligentsia” is that which denigrates and insults faith. Witness the self-styled intellectuals’ aggressive defense of the Dung Virgin Mary or Piss Christ. And please remember that these “art” pieces were not meant to be political statements, a la the Danish cartoons, which were directed at freedom of speech and religious expression through the press. Instead, these attacks on religious icons were intended to hang in museums as “artistic statements,” whatever the heck that means.

The rich and powerful no longer turn to art to aggrandize themselves, either. They collect it, but they are not personally memorialized in it.  Where we once had Van Eyck delineating Arnolfini and his wife for posterity’s sake with meticulous attention paid to their faces, clothes and exquisitely furnished home, we now have a raft of magazines and TV shows devoted to celebrity culture. If only the celebrities would figure out that it doesn’t aggrandize them, it just makes them look greedy, shallow and awful. But that’s a post for another day.

Decorating private and public spaces? Well, in the average person’s home, that’s a service provided (and provided very nicely) by places such as Target and Ikea, which sell decorative materials by the yard. They make for a pleasant environment, but I don’t think anyone would argue that they’re art. The concept of bringing an artistic aesthetic to buildings seems to have gone out with the utilitarian era that was ushered in after WWII. Some modern buildings designed by famous architects may be considered art in and of themselves, but the concept of painted walls, decorative pediments, external sculptures, etc., is dead and gone.

And then, of course, there’s the whole sense of art as a record of the here and now. There is no need in a photographic age for Canaletto, with his perfect representations of Venice; Rembrandt, bringing 17th Century Holland to life; John Singleton Copley, faithfully recording the faces of 18th Century America; Thomas Gainsborough, doing the same for 18th Century British gentry; or Jacques-Louie David, recording a revolutionary change in French thinking and politics.  When everyone has a camera, these artists’ skills have become completely redundant and unnecessary.

So I’m back to the title of my post:  In a modern era, what is art?  In many ways, I’m tempted to fall back on Supreme Court Justice Potter Stuart’s famous formulation for pornography, which is that you know it when you see it.   Potter Stuart, of course, wasn’t thinking of every individual getting to define pornography, he was thinking more of community norms.  What looks like art in New York, is smut in Kansas.  It was a sort of workable definition in a pre-media age.  It’s an impossible one in an internet and cable TV era.  But that, again, is a story for another post.

Of course, with an unanswerable question like “what is art” floating around today, it was inevitable that the elite art world would get its knickers in a twist about what deserves to be in museums.  San Francisco’s De Young Museum is trapped in that debate right now:

These should be good days at the de Young Museum: The new building in Golden Gate Park has drawn a record 2.5 million visitors since opening in October 2005, with plenty of crowd-pleasing exhibitions.

Yet that seems to be precisely the imbroglio facing John Buchanan, who as director of the Fine Arts Museums of San Francisco since early 2006 has overseen not only the M.H. de Young Memorial Museum but also the Legion of Honor in Lincoln Park.

Despite the booming attendance, some local artists, art dealers, collectors and other frequent museumgoers have begun to question Buchanan’s priorities, wondering whether he is more interested in fluff than fine arts.

***

Popular exhibitions of costumes and jewelry have aroused the most displeasure from the local art crowd. Have the days ended when the Fine Arts Museums curators could originate or share in challenging projects such as “Picasso and the War Years, 1937-1945″ (1998), “Beat Culture and the New America, 1950-1965″ (1996), or even the 2006 “Monet in Normandy,” a show full of instructive surprises that its blockbuster credentials belied?

The de Young’s current photography retrospective “Hiroshi Sugimoto” should allay such concerns, as might the October opening of “The Sculpture of Louise Nevelson: Constructing a Legend.” Both shows touch a level marked by artistic high points in the Fine Arts Museums’ collections.

But other items on the long calendar inspire skepticism. Consider “Marie-Antoinette and the Petit Trianon at Versailles” at the Legion in November, which will assay the taste of Louis XVI’s reviled queen through paintings and decorative arts, and later shows devoted to glass artist Dale Chihuly, whom most critics regard as an interior decorator, and fashion designer Yves Saint Laurent.

As for me, I’m squarely in the Buchanan camp.  I think modern art should foster pure aesthetic delight, especially since the alternative advanced by the high brow art crowd is usually just anti-establishment garbage meant to show what deep thinkers the artists and their audiences are.  (Please see my second paragraph, above.)  There’s also a lot of garbage tweaking, a la the Emperor’s New Clothes, where “artists” are manifestly just passing dribble on to the art crowd, delighted in the knowledge that there are rich and snobby suckers born every minute.  Don’t believe me?  Tell me what you really think about De Kooning’s work?  Many years ago, I saw pictures very much like these now showcased at New York’s MOMA, with crowds of drooling art lovers commenting on its profound meaning.  I guess I missed my profound meaning class, because to me it looked just like a scribble, showing no talent, beauty or meaning.

Did you also note in quoted material above that at least some of what the “art crowd” wants has everything to do with anti-establishment statements, and almost nothing to do with skill and aesthetic beauty.  They’re clamoring for “Beat Culture and the New America,” which definitely changed America’s look, but did little for its aesthetics.  Most of the stuff was unadulterated garbage, something I know since I spent about a year at a University Library cataloging a collection of this garbage that someone kindly donated (I guess his garage got too full).

On the other hand, there are few things more beautiful, complex and wondrous than Dale Chihuly’s glass works.   They are mind-boggling examples of tremendous technical skill mixed with an overwhelming visual power.  If that’s not art, I really don’t know what is.  And though they come from a much different era, exactly the same can be said of the objects with which Marie Antoinette surrounded herself at her Petite Trianon.

So, I guess, to me, modern art can be about “statements,” but it also must be about beauty — the imaginative, visually pleasing outpourings of our most skilled craftsman, from the historic era to the modern one.

What say you?