One of Postmodern Art’s important contributions to art history is cheek. But, far from being simple, there are several requirements that need to be met for a successful postmodern work.
The recent Marco Evaristti exhibition of canned meatballs cooked in his fat inspired me for a moment to see what idea I would come up with if I were a postmodernist. It would have to be a new medium of artistic expression and, at the same time, solve several PM requirements. The thing would have to be temporal; use the body of the artist in some fashion; reference an aspect of mass production; be an unorthodox medium; and use the natural force of one’s spontaneous genius (Kant).
As you might imagine, solving these demands is no easy feat.
Think about the variety of unorthodox mediums PM artists have used: straw (Kiefer); human excrement (Manzoni); elephant excrement (Ofili); urine (Serrano); blood (Quinn); islands, buildings, trees, etc. (Christo); rocks (Smithson); earth (Turrell); toenail clippings (Jones); sperm (Meste); Vaseline (Barney); mayonnaise, hot dogs, ketchup (McCarthy); and, of course, human fat (Evaristti, above).
My thoughts are going along the lines that it is absolutely imperative that a postmodernist use a medium that is unique to art, yet, is common to the human experience. The result should be temporal. Here today, gone tomorrow kind of stuff. Piffft, piffft. Something that bypasses argument and is distasteful–important PM qualities. That’s it! Flatulence. Canned flatulence. Yes. Flatulence d’ Artista. No, wait, don’t go off dismissing my idea too quickly. I think this has merits.
Think about it:
1) It’s temporal, it instantly dissipates, there is no waiting around for weeks on end for a Christo project to come down or for Merde d’ Artista to decompose.
2) It uses the body as a stool … I mean a tool of artistic expression.
3) It’s a unique medium, and so minimalist that it’s totally transparent. There is no painting white on white. In fact, way beyond that it is almost nothing. Yet it leaves an unmistakable suggestion of our experiencing it, experiencing something subliminal, and, depending on the taste and the good sense of the audience, something sublime.
4) It’s mass produced, or at least it has the reference of being mass produced. And it is something that every human has experienced and produced, yet they have never thought of as art, until now.
5) It’s a natural force of one’s expressive genius. No explanation needed. After all, Kant has said that: “[Genius] cannot indicate scientifically how it brings about its product, but rather gives the rule as nature.” Genius in art is an explosive force with no thought about its coming about.
6) And this artwork is interactive. Say some boorish acquaintance comes along and fills your space with thoughts that smell suspiciously of romanticism. You get out your can of Flatulence d’ Artista, piffft, piffft. This lets him know exactly the position you take on that! Piffft, piffft, pifffffft.
So when it comes to Postmodern Art, be clever and use a little cheek.
New York, June 2007
Note: Sometimes it is helpful for an artist to contemplate the absurd. Michelangelo once wrote a viciously satirical reply to the Pope’s request for gigantic marble sculpture in which several massive blocks would be needed. Michelangelo outlined that if the subject were a smoking man, he could hollow out a smoke shop at the base, ground floor, charge rent, and even create a funnel and chimney, in which smoke could escape through the marble pipe. The concept of using marble as building blocks was the antithesis of Michelangelo’s prime concept that the figure is inside the block of marble waiting for the artist to release him/her.
Michelangelo wasn’t simply ranting, he was examining the aesthetic issues of the concept of using blocks to create a sculpture, and the absurd directions that it could lead.
Likewise, with my satire above, I am seriously looking at possible PM pathways, and drawing the conclusion that postmodernism is a crippling aesthetic.