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Original Message
"RE: The Death of Painting"
Posted by ddouglasgordon on 18-Jan-02 at 01:05 AM
abvg,

It may seem like we're splitting hairs over the modern question, but I'm differing with you for a specific reason--that is, that no matter what the achievements of the past, the legacy it has left us is one in which people like you and I have to worry about whether to mourn the passing of painting or not, as you put it.

(personally, I would limit modernism to 1910's-1970's, but I don't want this to turn into an art history debate).

Undoubtedly, there were a number of masterpieces produced as a result of the shift in aesthetics. I particularly appreciate Schiele, Klimt, and yes, even some of the work of the lazy and much-loathed Picasso. (though i believe that Cezanne's importance, the supposed 'father of modern painting,' is greatly exaggerated).

The problem is that modernism effectively shifted gears from the focus of art being the creation and contribution of lasting masterpieces (i.e. construction, synthesis, exploration) to a permanent avante-gardeism based upon the 'challenging of notions . . ' (i.e. destruction, fracturing, seeking of the new for its own sake in opposition to the old). Examples--Christo, challenging notions that art should be in galleries or museums, the importance of 'spiral jetty,' abstract expressionist rejection of 3-D space, and so on--no shortage of evidence for this.

As I stated yesterday, this makes true 'modernism' dependent upon something to destroy. The artist is thus more deeply obligated to depend on the ideas of the past for subject matter than at any point yet in history. And, strangely, complete consummation means self-obliteration (no more art can exist if there are no more walls to tear down).

In a sense, this destruction of ideals and strictures does lead to a freedom. But a only a freedom that excludes the ideals it has just rejected.

The course of events is therefore predictable: keep rejecting ideals wherever they may be found, and after a period of time, you are truly "free," and no longer limited by imposed restrictions. Do what you will, so long as it is within the limited scope of excluding all those things which we have just rejected.

(just traded one for the other).

Effectively the power of the Academie and the Salons was rapidly reinstated, and equally, if not more oppressive, but from the opposite end of the spectrum. 'Institutionalism' was not rejected; only the rule-writers changed.

Further, modernist work has left us dependent on specific theory for a work of art's success. This is a problem because, first, artistic theory tends to be the exclusive domain of a private few (a MUCH worse problem than 'art for the rich'), and second, it is not subject to any sort of human scrutiny whatsoever.

In general, regardless of aesthetic context, great work tends to stand on its own, 'transcending its specific time and place', if you will. If you disagree with this, I'll have to make arguments later (but it would be difficult to convincingly disagree).

Getting us closer to the real reason we're discussing modernism, the direction the masterpieces of modernism has brought us in--now that we have 'arrived'at their ultimate destination, is a world where a 'masterpiece' is no longer possible (within the confines of the art establishment). Artists and establishmentarians alike recognize this, hence the movement to experiment in the hopes of "possible historical significance." I.E., we have no idea what a 'masterpiece' might look like anymore, so we'll just ramble about aimlessly, and hope that future generations sort things out, and find something valuable in what we've done.

{"oh, please, dear lord, let me be the next Van Gogh, Amen. er, except i need a big paycheck right now--I can't wait 'till I'm dead. Amen. and Tenure, please, Tenure, Amen."}

the shift into an era in which the entire establishment willfully recognizes and admits that it has no idea what it considers 'good art' is a first in human history, and in my opinion, a symptom of a deep malaise.

To underscore my point, this is not a debate as to whether a 'masterpiece' is possible anymore, but you and I are asking whether painting itself is possible.

What a change from the days in which a young Durer could confidently state that he was 'second to no man, past or present,' and certain of the permanence and importance of his work (Picasso also stated similar things about himself). Talent has been emasculated. Should a young Durer be born today, we would probably force him to be a plumber or something.

In summary, I would compare many of the achievements of modern art theory to a cure for cancer which gives you aids in the process. A great human achievement, undeniably, to achieve freedom and health from one oppressive disease and catch another.

You're still going to die.

Again, I still say painting is possible in our current environment, but again my verboseness has precluded me from saying much about it--sorry.

Douglas

P.S. impressionism was not a scandal--it was the king himself who created the salon des refusees. there was no rejection of the past whatsoever--manet said, "in velasquez, i found myself," then went and painted the Fifer. the 'scandal' was mainly hoopla drummed up by art dealers to sell paintings (and a few academie teachers screaming because they lost some power, and didn't believe in painting regular daily life). Had the exact same movement started in Spain, it would be almost indistinct from its predecessors, except for the palette (reference the work of goya, el greco, velasquez' "impressionist" rendering of objects and colors). Remeber, impressionism was the first true "-ism." i.e., little change, lotsa hoopla.

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