Several years ago, as a music student in college, I remember hearing constant complaints about “lack of funding for the arts.” Hardly a day would go by without a classmate or professor bemoaning the thin and fickle pockets of the bourgeoisie or Uncle Sam’s lack of artistic initiative.
Little did we know, a shake-up was already taking place, driven by a mysterious mix of newfound prosperity, entrepreneurial innovation, and the market forces behind it. The digital revolution was beginning to level the playing field and drain power from tanks and banks of all kinds, from the Hollywood execs with dollar signs in their eyes to the aesthetically enlightened cronies at the National Endowment for the Arts. Despite the many prophecies of a creative apocalypse, a bottom-up revolution was taking place.
Amid the sea of new technologies and tools that were soon to emerge — streaming music, streaming movies, ebook publishing — crowdfunding rose as a powerful path to creative independence: artistic, economic, and otherwise. Leading the pack is Kickstarter, with success stories abounding, from inventors to thespians to foodies to photographers, and with routine funding results that actually surpass the NEA. (more…)
In his magnificent reflection on the nature of art, Real Presences, polymath George Steiner invites us to make a thought experiment: What if we lived in a city where all talk about art, mere talk about art, was prohibited? In other words, what would follow if we did away with artistic criticism qua criticism, an activity derivative by nature and one Steiner calls “high gossip”? In this posited city, what Steiner calls the Answerable City, the only permitted response to a work of art would be another work of art. Thus participation in the “art scene” could never launch itself from the risk-free loft of criticism, but it must be real participation, a participation that demands that the viewer invest something of his own imaginative capacities. In this city, the word “interpretation” denotes not something exegetical, but something performative; an activity not of professional academics or theater critics, but of actors and directors — as in an actor “interprets a role.” Here, art means incarnation, not judgment.
But such a city is only a thought experiment, and since judgment requires the participant to invest less of himself, it will always be easier to be a critic than to be an artist. And therefore the artist will always be tempted first to pass judgment rather than to respond with his own creativity.
After a decade of trying to walk the slippery ridge between “he who does” and “he who discusses” art, I have tried to avoid criticism these last couple of years to focus only on doing. But I feel the need to again jump into the critical ring, thanks to a recent article in GQ Magazine (it was sent to me by a friend), an article on my own town, Grand Rapids, and its increasingly famous festival, ArtPrize. (more…)
If you’ve watched any football or baseball recently, you’ve probably seen this Audi commercial. It’s quite funny, and it’s right up Acton’s alley: it artfully distinguishes between proper and improper stewardship of one’s wealth. In this case, an awkward after dinner exchange shows what happens to the use of wealth when culture is diminished:
We have on the one hand a couple appreciative of the aesthetic triumphs of humanity (the Browns), and on the other, a couple of barbarians (the Joneses). In order to get to know each other, the Browns go over to the Joneses’ house for dinner, where they are struck by the Joneses’ art collection – the latter, with the Metropolitan Museum of Art, seem to be the world’s greatest collectors of the Dutch master Vermeer.
But it turns out that the Joneses are boors who have no idea of the value of their collection, and can appreciate only the Smiths’ expensive car. Their wealth may have been acquired by the virtues of industry and thrift, but it is wasted if it is not spent on things of value.
On MercatorNet, Sarah Phelps Smith writes what must have been intended as a companion piece to the Audi commercial: a review of the Florentine art exhibitMoney and Beauty; Bankers, Botticelli and the Bonfire of the Vanities running right now in that city. The exhibit is a collection of banking artifacts, coins, and art from the Medicis and other Florentine banking families.
The exhibit is particularly relevant right now because, as Wall Street has done, the Medicis became wealthy by providing indispensible financial services, and along the way they made some rather imprudent decisions (Dr. Smith provides the example of business done with royalty, who could default at will). The Medicis also supported the work of Botticelli, Leonardo, and others Renaissance geniuses, and for that, Western Civilization will always be in their debt.
It’s easy to point out that a months-long drum circle in the middle of New York City isn’t a cultural achievement, no matter how many sleepless nights are inflicted on the neighbors. But what should have instead of those drum circles? Besides making you depressed about federal funding of the arts (with apologies to cowboy poets in all states), Dr. Smith reminds us that you can’t take it with you:
Do we, as a culture, use “disposable income” to foster artists who have put the time and effort into learning their craft so that they can make beautiful objects with a beauty that will last five hundred years? Perhaps the exhibition can leave us with a desire to encourage people with means to commission, support and propagate works of art that will be timelessly beautiful and universal in appeal, so that when history looks at the products of our culture we (or rather those who come after us) will find our legacy worth looking at.
The Audi marketing team breaks the cringe making silence in their commercial with the text “True greatness should never go unrecognized.” They playfully acknowledge that their big sedans are toward the bottom of the important-things-in-life scale, and that someone for whom a Vermeer might as well be a Thomas Kinkade is not living a fully human life. It’s funny — you can’t be in the business of selling high end cars without rejecting cultural relativism.