The following is a version of my part of a joint presentation with Stephen Hicks given at the first ever Malibu Summit student retreat hosted by The Atlas Society on June 29, 2019 at Scorpiesse in Malibu, California.
June 29th, 2019 at Scorpiesse – Stephen Hicks talks with Atlas Advocates at The Malibu Summit.
An Impasse Between Creating and Destroying
The contrast between postmodernism and what I call “evolutionary art” is both epistemological, in the sense of how the art is made and the knowledge behind it, and metaphysical, what kind of subjects are important. Postmodern art is about seeking new means and content to challenge the very concept of art. Evolutionary art builds on the contributions of great artists and great art movements with new insights into human psychology and aesthetic means. Philosopher and The Atlas Society Senior Scholar Stephen Hicks, Ph.D, summarizes the difference this way: it is the difference between a master making a stained glass window and the moron that throws a rock and smashes it!
Louise Bourgeois vs. Martine Vaugel
Louise Bourgeois at MOMA. “Untitled” (1998), fabric and stainless steel at center
The postmodern works I am including are considered important by important art institutions. A defining moment and lifelong obsession of French-American postmodern artist Louise Bourgeois was the trauma of discovering her father’s affair with her governess. Bourgeois was a member of the American Abstract Artists Group and had her own salon called Bloody Sunday. She referred to her early to later work as “fear of falling…art of falling…and the art of hanging in there.” Not an abstract artist, not a competent drawer or sculptor, with no discernible standards of any kind, she didn’t use art as a means of personal evolution, to grow both technically and soulfully. Instead her works convey that she remained stuck in a regressive emotional intelligence state, which conveyed the only kinds of emotions available to a hopelessly incompetent artist – pain, anxiety, and confusion.
A great example of her arrested development is this untitled head shown at her retrospective show at New York’s Museum of Modern Art. Clumps of wool clobbered together to form a cylinder base and a cotton ball-like head, which is then crudely sowed over with pink-flesh colored compression wrap bandages, wrapping the nose, stitched over mouth, and stuffed into the empty eyeball sockets. A cauliflower ear is formed grotesquely out of the same stuff. One has to call into question, not how pathetic her work is, but what is her motive for exhibiting it, and what are the motives of the critics, curators, and directors who give her a reputation that only the awesome prestigious power of New York’s great art institutions can give. Empathy for humanity may be in the press release, but there is a deeper motive that they may not want to examine.
Martine Vaugel, is a contemporary French-American sculptor whose bronze figure and portrait sculptures are, in her words, the “expression of my love affair with the human spirit.” She is the founder of the Vaugel Sculpture Method, a method of clay modeling based on her knowledge of human anatomy and mastery of structure.
Giovanni Battista Tiepolo, Rinaldo Enchanted by Armida, 1742 until 1745. Was this the kind of work Kant associated with charms and sensual delights of beauty?
Originally published online at The Atlas Society.
Making Sense of Kant’s Senseless Sublime
In the last decade of the 18th century Beethoven composed his 1st and 2nd piano concertos, Goya etched the series Los Caprichos, Jacques-Louis David painted The Death of Marat, and Mozart composed the Requiem in D Minor and the great Jupiter Symphony. These works coincided with the French Revolution, and together they guided European culture away from the extravagant art of Rococo exemplified by the sweetly-colored paintings of Boucher and Tiepolo, with their floating florid nymphs, cupids, silks, and princesses.
Jacques-Louis David, Death of Marat, 1793. The period of the French Revolution marked a new period of art with more gravitas.
This was a paradigm shift from the superficial to gut wrenching passion, as if Western art was going back to its roots in the dramas of Aeschylus and Euripides; answering the big questions of what is the good and what is important while at the same time elevating the creative process by innovation and superlative skill. This wasn’t for the faint of heart. The artists would have to face inner turmoil and outer rejection as they attempted to get patrons to sponsor wildly dramatic depictions of death, war, and executions, which didn’t lend themselves to the decorative palace dining room. Risking their livelihoods the artists bore down in this new direction. With this revolutionary spirit we can see the need for a new aesthetic to champion and reflect an Age of Enlightenment.
The Sublime the Absolutely Great
The year 1790, when Beethoven was 20, also marked the publication of Immanuel Kant’s Critique of Judgment. It famously compares and contrasts the aesthetic values of Beauty with that of the Sublime. The treatise identifies Beauty representing the lighter more sensual pleasing side and the Sublime addressing what is the “absolutely great beyond all comparison.” Kant wanted to free the Sublime from the constraints of art and launch it into the world of the mind unfettered by perception, form, or realization. Continue reading “Making Sense of Kant’s Senseless Sublime”
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.
Detecting Value Judgements in Painting by Michael Newberry
A few years ago I read the book What Art Is: The Esthetic Theory of Ayn Rand by Torres and Kamhi. I was disquieted to read their take on Rand’s definition of art, specifically about the meaning of metaphysical value-judgements. Perhaps the thing that was the most surprising to me was that their perspective on this issue is so much not the way that I experience art; either as a creator or as in appreciation, or how I understand Rand’s meaning. In a sense, their book has been the catalyst for this lecture. I hope to answer them by showing how you can detect metaphysical value-judgments in painting. But, more importantly, I hope to show you how to find and, perhaps, share the artist’s incredible passion that lies just beneath the surface of the paint.
Critiquing Art: Look for What is Alive by Michael Newberry
Representational art students are taught to be critical. During critiques, the stress is on the work’s problems. It is not uncommon to see students turning red with embarrassment or anger. Sometimes one will cry. Aside from a bully or two, most of them will accept the critiques as a necessary evil. “Grow a tough skin” is said to oneself and others. In the art world, only the tough survive, at least that is the idea.
Alone and long after college artists agonize over their work by aggressively focusing on their mistakes. This activity does at least demonstrate that the artist knows what is wrong, but it also serves to crush their spirit. The process doesn’t address the one question that matters most: what makes an artwork alive?