Finishing Up My Chapter on Immanuel Kant, Evolution Through Art
Burke on The Sublime from my Upcoming Book, Evolution Through Art
TOMBS 5: A Pile of Crap at The Venice Biennale
TOMBS 3: Yale School of Art by Michael Newberry
TOMBS 2 — Harvard Visual Arts
Roger Scruton’s Why Beauty Matters; And Did I Have a Small Part in It?
Roger Scruton’s excellent presentation Why Beauty Matters, a BBC production, has seen a resurgence, over a million views on this embedded YouTube video. Several people have forwarded it to me and I remember seeing it ages ago. In re-watching it I was struck by the coincidence of the same four postmodern works in his presentation and in my article Pandora’s Box Part III. I was kind of horrified that I might have subconsciously lifted them from him without being aware of it. I didn’t.
I was relieved that my article Pandora’s Box Part III was published in the Free Radical (magazine and online) in 2002, while this Scruton publication was released almost 8 years later in November 2009. The four works are canned shit, Manzoni’s Merde d’artista; empty room, Creed’s The Lights Going On and Off; a urinal, Duchamp’s The Fountain; and bricks in a room at the Tate by Andre.
Scruton discusses them at 5:25 to 5:48 and he says: “It has been interrupted in another way by showing that anything can be art. Like a light going on and off, a can of excrement, or even a pile of bricks.”
In a section from my article which I discuss the postmodern works I write: “Kant’s concept of the formless nature of the sublime is the ideological birthplace of the postmodern aesthetic that art, visual art, doesn’t need to be expressed through the means of representational painting or sculpture. In practice, this aesthetic opened up the floodgates of a nihilistic revolution in the 20th Century in which postmodern artists deconstructed art and/or substituted any object but painting or sculpture for art, i.e. arranged rubbish, excrement, installations, etc.”
Bemusedly, I was wondering if my article was the source for “It has been interrupted…” I am just having a little fun figuratively flexing my muscles showing that I have been ahead of the curve. BTW, Pandora’s Box Part III is a wonderful article touching on a few of Kant’s concepts of the Sublime how they are connected to some horrible postmodern works, and I optimistically share some magnificent contemporary figurative works.
Michael Newberry, Idyllwild, 2/14/2020
A Victim’s Vindication: Pierre Huyghe at the National Museum of Contemporary Art, Athens 12 February — 8 April 2001
(Authors note: This is one in a series of reviews of what is going on in contemporary museums of art. Like many of you I go to a contemporary art museum with an excited expectation that I am going to see today’s best living artists. Please keep that in mind after your read these reviews as it might seem that I purposefully sought out isolated freak shows–nope, just visiting the most respected museums of contemporary art and reporting what I see.)
The recently-established National Museum of Contemporary Art in Athens gives us a look inside media manipulation with Pierre Huyghe’s The Third Memory. It is a documentary-like presentation about a notorious 1972 bank robbery in Brooklyn. The audio-visual installation, on loan from the collection of the Centre Georges Pompidou, Paris.
The Third Memory contains side by side two synchronized video projections that last about ten minutes, and reference materials and clips. The video projections juxtapose Huyghe’s reenactment/documentary-like reconstruction of a bank robbery that took place in Brooklyn, New York in 1972, and footage from Sidney Lumet’s Dog Day Afternoon (1975), a movie about that robbery. In Huyghe’s work the actual robber, John Wojtowicz, many years older and out of prison, retells, acts out, and analyzes the robbery on the sets used in Lumet’s movie. About The Third Memory Huyghe says it is “…the story of a man who was robbed, who was dispossessed, of his own image … the “author of an action” is given the opportunity to “speak up…in order to regain his place at the centre of the plot…”
Continue reading “A Victim’s Vindication: Pierre Huyghe at the National Museum of Contemporary Art, Athens 12 February — 8 April 2001”Fun and Disturbing Postmodern Art News: Art Professor Charged with Attempted Murder
Fun disturbing Postmodern News. Art professor Rie Hachiyanagi at Mount Holyoke College was charged with the attempted murder of her colleague for unrequited love. Reportedly she bashed in the face of her victim with a “rock, garden shears and a fireplace poker” breaking several facial bones!
Of course, she is innocent until proven guilty. But it is interesting to contrast the vicious violence of the act with her gentle flowery poetic and humble artist’s statement:
“My work in performance and installation expresses both the concrete actuality and the ephemerality of life. Art is an experience set in a specific time and place.Such poetic occasions define the shape of my existence.
“The process of making paper by hand allows me to be humble,As plant fiber and its beauty must be generated from nature.Our hands have brought paper into being.In paper resides a communion of nature and humanity.”
Look at the creepshit of her artwork installations. This woman was the Professor of Art; Chair of Art Studio of a Massachusetts University teaching impressionable teenagers how art is made and how it works.
Postmodernists are a pathological cult of oblivion, they should never be allowed teaching art or near children, because their outlook is rotten to the core.
I do love it when art practice matches reality.
The Great Fraud, How Postmodernism Abuses Art
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.
Michael Newberry
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).
Postmodern vs. Evolutionary Art
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.
