Beyond Obstacles, Malevolence, and Ignorance
I have been thinking about writing an art book filled with stories, anecdotes, speculation on prehistorical art, real life experiences, and the knowledge of what is it is like to strive for the sublime. Today I started with the title and listing chapter headings.
Psychological Aesthetics and the Exciting Fight to Evolve: Beyond Obstacles, Malevolence, and Ignorance
- Leaving One’s Mark: Taming Powerful Animals Through Capturing Them In Art
- Imagining the Next Step: Willendorf Venus or I Will See You Later Tonight
- Safety in Group Think, Their Fear of the Unknown and the Extent They Will Go Eradicate Evolutionary Nudges
- Wisdom, Truth, and Courage Within: Calibrating Perception, Evaluation, and Emotion
- To Be or Not To Be? To Break Free or to Conform?
- Tears, Love, and Visibility: The Alternate Universe
- The Art Instinct: What Makes Humans Unique Animals?
- Art is the Power That Religion Wants: Control the Artists you Control the Mass Psyche
- Art Transcends Agendas By Touching Individual Souls
- Power Without Wisdom Corrupts Completely: Michelangelo in the Quarry; Postmodernist Malevolence
- Life or Death: Consequences of Integrity
- Freedom of the Sublime
Those Who Can’t
“Those who can, do. Those who can’t, teach. Those who can’t teach, critique.” And no one represents this weakness better than Jerry Saltz, winner of the 2018 Pulitzer Prize for Criticism for his article, “My Life as a Failed Artist.”
Jerry Saltz writes about his younger artist self: “In 1973, I was 22, full of myself, and frustrated that I wasn’t already recognized for my work.” But a few years later he had some great acceptance from the art world: museum purchases, a $3,000 NEA grant in 1978 money, reviewed in Artforum, exhibited with Barbara Gladstone Gallery and with Rhona Hoffman. He was ecstatic with the recognition, yet he had a nagging contempt for his art:
“But then I looked back, into the abyss of self-doubt. I erupted with fear, self-loathing, dark thoughts about how bad my work was, how pointless, unoriginal, ridiculous. ‘You don’t know how to draw,’ I told myself. ‘You never went to school. Your work has nothing to do with anything. You’re not a real artist. Your art is irrelevant. You don’t know art history. You can’t paint… No one cares about you. You’re a fake…'”Continue reading “The Age of Delusion: Jerry Saltz, 2018 Pulitzer Prize for Criticism by Michael Newberry”
Newberry discusses the influences of Vermeer, Rembrandt, and Michelangelo in his current work in progress.
TuftsPUBLIC: Jenny Polak: ICE Escape Signs
Tufts University is running a protest against ICE–in the guise of being art. Everyone involved in this project may be well intentioned, but what does this have to do with art? The message of the protest has nothing to do with art, but as art it’s one I am disgusted by: the anti-conceptual degradation of art.
Art has a very special aura of the sublime, the ultimate, and the universality of a higher nature. The best in art is evolutionary. It elevates our knowledge, expands our emotional capabilities, and enriches our senses. For instance, Monet furthering our knowledge of colors of shadows and natural light. Michelangelo showed us what a fearless stance against huge obstacles looks like (The David), and he did so with his revolutionary means of transcribing touch to sight. And Polyclitus showed us how the science of beauty works through proportions. These artists and many more, both in history and contemporary times, amongst whom I am proud to count myself, contribute towards giving art profound meaning.
The Tufts project by Jenny Polak does two things that are now-classic postmodern sabotage. They use the esteemed status of art, made possible by great artists, to elevate a protest to a grander status. And by dedicating their reputation, resources, and their art department to juvenile protest posters scattered around the campus they suck the life out of aesthetic innovation, advancement, and the soul of art.
Idyllwild, July 20, 2019
Below is from the Tufts University website.
TuftsPUBLIC: Jenny Polak: ICE Escape Signs
Weems Atrium / SMFA, Media Wall / Aidekman
Various Locations throughout Medford Campus
JENNY POLAK: ICE Escape Signs is the 2018-2019 Tufts PUBLIC project, a program of yearlong, temporary public art projects designed for spaces outside the Art Galleries and throughout the school’s Medford/Somerville and SMFA campuses.
Jenny Polak makes site and community responsive art that reframes immigrant-citizen relations, amplifying demands for social justice. Originally from England, her work draws on her background in architecture and socially engaged projects, as well as her own family history of migration. She focuses on detention centers, racial profiling, and strategies for surviving hostile authorities. As an exhibiting artist in the upcoming exhibition Walls Turned Sides: Artists Confront the Justice System (coming to TUAG Spring 2020), Polak will work with the Tufts community to create a series of site-respondent signs throughout campus beginning in the fall as part of her ongoing series – ICE Escape Signs. A decentered public art project, ICE Escape Signs are designed for specific floorplans and draw attention to the fact that people are living in daily fear of being caught in a raid by Immigration and Customs Enforcement (ICE).