A friend who is an art historian lamented that even his most attentive students could not share his enthusiasm for modern art and that even those who understand the context in which it arose still dislike it.
One of the issues I have with much of what passes for modern “art” is that it is 99% concept (the more pretentious and preachy, the better) and 1% about execution. I am reminded of how in Dutch, “kunst” (art) comes from the same root as “kunde” (ability, skill, knowledge). It’s hard to see any “kunde” in making cans labeled “Merde d’Artiste” [sh-t of artist/sh-tty artist] (Piero Manzoni); in displaying one’s unmade bed as an art installation; dripping paint on a canvas (Jackson Pollock); making stains of various bodily fluids (Andres Serrano — this work of “art” was used by Metallica for two album covers); and the like. Richard Bledsoe of the Remodern Review has been blogging up a storm about this poseurism, and the neo-figurative “Stuckist” and “Remodern” movement that arose against this “stuck on stupid”.
What much of modern “art” really amounts to is a rejection of “craft” in favor of “concept”. I cannot help being reminded of a similar trend in literature.
Now you could call me an artistic philistine who is stuck on Renoir, and maybe you have a point — but I’m much more conversant with music than with any visual art, and yet we see something similar there: contemporary classical music has, for the most part, become a sterile exercise in intellectual and ideological peacocking by academic musicians for academic musicians and snobbish hangers-on.
Another friend asked in response whether this was a matter of acquired taste. After all, people who are not chocoholics or wine connoisseurs cannot truly appreciate “the good stuff” for how good it is?
Perhaps, but here’s the thing: even the person who would like the cheap chocolate from the dollar store as well as the rare gourmet stuff still has no trouble recognizing the latter as chocolate — they just would miss the added value. To use a musical analogy: consider listening to a Bach fugue. Knowing formal counterpoint will make you realize just how much of a genius Bach was to do what he did, but you don’t need to know any music theory to hear it’s music — and if it’s well played, an attentive listener — even without any formal training — will realize it’s a tapestry of independent voices in a harmonious conversation, even if you don’t know any of the “rules of order” that govern it (which is what classical counterpoint really is, a “Roberts’ Rules” for polyphonic music).