Prof. Lynne Porter
Published 22 Apr 2021Lecture for Fairfield University class called “What We Leave Behind: the History of Fashion & Decor”.
January 11, 2024
Art Deco Architecture
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December 14, 2023
Pervasive disrespect for the human form in art (and everything else) is a leading indicator of collapse
My headline isn’t exactly what Ted Gioia says here (although this is only the beginning of his article, as the rest is behind a paywall) but it’s definitely an aspect of what he’s seeing:
For thousands of years, flourishing societies treated the human form with love and respect.
The connection is hard to describe with precision. But, it seems, you can’t make much progress promoting human rights if you don’t start with some degree of reverence for the embodied individual.
Even neanderthals knew about ornamentation and figurative art, but paintings of actual people, created by communities along the Nile River, some 8,000 years ago, signaled the rise of more advanced, stable institutions. It’s no coincidence that democracy and personal autonomy in Greece and Rome happened in conjunction with obsessively realistic renderings of the human body.
Much of this was lost in the post-classical world, but Renaissance artists rediscovered this passion for the human figure — which was embedded in its nurturing of science, art, and free inquiry
But something very different is happening in our own time.
I won’t offer any theories today. I’ll just share the facts — in the form of news stories, all about different subjects.
None of these stories have any direct connection with the others. Yet they fit together like the pieces of a strange puzzle. The picture they make is ominous.
Maybe you have some explanations. In the meantime, let’s just plunge in …
1. You can’t hear people talking in movies — because directors prefer to share background sounds.
“I used to be able to understand 99% of the dialogue in Hollywood films. But over the past 10 years or so, I’ve noticed that percentage has dropped significantly — and it’s not due to hearing loss on my end. It’s gotten to the point where I find myself occasionally not being able to parse entire lines of dialogue when I see a movie in a theater, and when I watch things at home, I’ve defaulted to turning the subtitles on to make sure I don’t miss anything crucial to the plot.”2. Lead vocalists are getting quieter while the sound of the instruments become louder.
“Lead vocalists have gotten quieter over the decades, compared with the rest of the band. That’s the conclusion of a new study that analyzes chart-topping pop tunes from 1946 to 2020 …”3. Anthropophobia — the fear of other people — is on the rise.
“Anthropophobia, or the fear of people, has so far been America’s most searched-for phobia this year. In that study, anthropophobia accounted for 22% of all phobias that people searched for online, a five-fold increase over 2019. And the state-by-state results affirm common stereotypes. New York’s most-searched phobia in 2020, for example, has been “philophobia.” That’s a big word for the fear of intimacy.”4. Time spent alone is rising for all demographic groups.
“According to data from the American Time Use Survey, the amount of time people spent with their friends, family and other companions was mostly unchanged between 1970 and 2013. Then, after decades of stability, the numbers began falling. By 2019, on average people were spending almost three hours less with their friends than only six years earlier, and four hours less with their family, neighbors and other companions.
“None of that time was transferred to more time with partners, children or others. All of it was swallowed up by time spent alone … Strikingly, the average American teenager today spends 11 hours fewer with their friends than they did only eight years ago, and 12 hours more time alone.”
5. Clothing retailers replace realistic mannequins with abstract forms.
“There were a ton of used mannequins sitting in retailers’ attics and storerooms. Every time they re-merchandised or remodeled, they were bringing in new mannequins to replace the old, increasingly replacing realistics with abstracts. And it wasn’t just full mannequins, it was head forms, leg forms, maternity mannequins, swimwear mannequins and all kinds of props, as well. Retailers would throw these items in the trash.”6. Social media causes children to dislike their own bodies.
“Three out of four children as young as 12 dislike their bodies and are embarrassed by the way they look, increasing to eight in 10 young people aged 18 to 21 … Nearly half of all children and young people aged from 12 to 21 questioned said they have become withdrawn, started exercising excessively, stopped socialising completely or self-harmed because they are regularly bullied or trolled online about their physical appearance.
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November 19, 2023
Ted Gioia wonders if we need a “new Romanticism”
He raised the question earlier this year, and it’s sticking with him to the point he’s gathering notes on the original Romantic movement and what it was reacting against:
The issues that enraged the original Luddites certainly have many modern echoes.
I realized that, the more I looked at what happened circa 1800, the more it reminded me of our current malaise.
- Rationalist and algorithmic models were dominating every sphere of life at that midpoint in the Industrial Revolution — and people started resisting the forces of progress.
- Companies grew more powerful, promising productivity and prosperity. But Blake called them “dark Satanic mills” and Luddites started burning down factories — a drastic and futile step, almost the equivalent of throwing away your smartphone.
- Even as science and technology produced amazing results, dysfunctional behaviors sprang up everywhere. The pathbreaking literary works from the late 1700s reveal the dark side of the pervasive techno-optimism — Goethe’s novel about Werther’s suicide [Wiki], the Marquis de Sade’s nasty stories [Wiki], and all those gloomy Gothic novels [Wiki]. What happened to the Enlightenment?
- As the new century dawned, the creative class (as we would call it today) increasingly attacked rationalist currents that had somehow morphed into violent, intrusive forces in their lives — an 180 degree shift in the culture. For Blake and others, the name Newton became a term of abuse.
- Artists, especially poets and musicians, took the lead in this revolt. They celebrated human feeling and emotional attachments — embracing them as more trustworthy, more flexible, more desirable than technology, profits, and cold calculation.
That’s the world, circa 1800.
The new paradigm shocked Europe when it started to spread. Cultural elites had just assumed that science and reason would control everything in the future. But that wasn’t how it played out.
Resemblances with the current moment are not hard to see.
“Imagine a growing sense that algorithmic and mechanistic thinking has become too oppressive. Imagine if people started resisting technology. Imagine a revolt against STEM’s dominance. Imagine people deciding that the good life starts with NOT learning how to code.”
These considerations led me, about nine months ago, to conduct a deep dive into the history of the Romanticist movement. I wanted to see what the historical evidence told me.
I’ve devoted hours every day to this — reading stacks of books, both primary and secondary sources, on the subject. I’ve supplemented it with a music listening program and a study of visual art from the era.
What’s my goal? I’m still not entirely sure.
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October 11, 2023
Art Deco in 9 Minutes: Why Is It The Most Popular Architectural Style? 🗽
Curious Muse
Published 3 Sept 2021What comes to your mind when you think of the 1920s? For most people, the 1920s conjures up images of jazz, flappers, Old Hollywood, the Great Gatsby, and the Chrysler Building in New York City. It was a time of prosperity, exorbitant spending, and entertainment that gave rise to one of the most popular decorative arts and architecture movements — known as Art Deco.
Characterized by exquisite craftsmanship, lavish decoration, and rich materials, the style has become synonymous with the Roaring Twenties. So, what was the Art Deco movement all about and what differentiates it from other major movements? Finally, despite its popularity today, what makes Art Deco so closely associated with the 1920s?
In this week’s video, we’ll dive into the history of the era and learn about Art Déco, the style that continues to inspire designers and architects around the world!
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September 26, 2023
Postwar Warsaw became beautiful, but postwar Coventry became a modernist eyesore
Ed West’s Wrong Side of History remembers how the devastation of Warsaw during World War 2 was replaced by as true a copy as the Poles could manage, while Coventry — a by-word for urban destruction in Britain — became a plaything in the hands of urban planners:
Stare Miasto w Warszawie po wojnie (Old Town in Warsaw after the war)
Polish Press Agency via Wikimedia Commons.
Fifteen months after its Jewish ghetto rose up in a last ditch attempt to avoid annihilation, the people of the city carried out one final act of defiance against Nazi occupation in August 1944.
The Soviets, having helped to start the war in 1939 with the fourth partition of Poland, deliberately halted their advance and refused to help the city in its torment. Without Russian cooperation, the western allies could do little more than an airlift of weapons and supplies, which was doomed to failure.
The Polish Army and resistance fought bravely – some 20,000 Germans were killed or wounded – but at huge cost. As many as 200,000 Poles, most civilians, were killed in the battle and over 80% of the city destroyed – worse destruction than Hiroshima or Nagasaki. And so the Nazis had carried out their plan to erase the Polish capital — yet this was something the Poles refused to accept, even after 1944
Today the Old Town is as beautiful as it ever was, and visitors from around the world come to walk its streets – witnesses to perhaps the most remarkable ever story of urban rebirth.
With the city a pile of rubble and corpses, the post-war communist authorities considered moving the capital elsewhere, and some suggested that the remains of Warsaw be left as a memorial to war, but the civic leaders insisted otherwise – the city would rise again
Plac Zamkowy, Warszawa (Castle Square in Warsaw)
Photo by Makxym Kozlenko via Wikimedia Commons.
Warsaw was fought over, bombed, shelled, invaded and twice was the epicentre of brutal urban guerilla warfare, leaving the city in literal ruins. Coventry, on the other hand, wasn’t bombed by the Luftwaffe until 1940 — but the damage had already began at the hands of the urban planners:
Broadgate in Coventry city centre following the Coventry Blitz of 14/15 November 1940. The burnt out shell of the Owen Owen department store (which had only opened in 1937) overlooks a scene of devastation.
War Office photo via Wikimedia Commons.
The attack was devastating, to the local people and the national psyche, and local historian W.G. Hoskins wrote that “For English people, at least, the word Coventry has had a special sound ever since that night”. Yet Coventry also became a byword for how to not to rebuild a city – indeed the city authorities even saw the Blitz as an opportunity to remake the city in their own image.
Coventry forms a chapter in Gavin Stamp’s Britain’s Lost Cities, a remarkable – if depressing – coffee table book illustrating what was done to our urban centres. Stamp wrote:
British propaganda was quick to exploit this catastrophe to emphasise German ruthlessness and barbarism and to make Coventry into a symbol of British resilience. Photographs of the ruins of the ancient Cathedral were published around the world, and it was insisted that it would rise again, just as the city itself would be replanned and rebuilt, better than before.
But the story of the destruction of Coventry is not so simple or straightforward. … severe as the damage was, a large number of ancient buildings survived the war – only to be destroyed in the cause of replanning the city. But what is most shocking is that the finest streets of old Coventry, filled with picturesque half-timbered houses, had been swept away before the outbreak of war – destroyed not by the Luftwaffe but by the City Engineer. Even without the second world war, old Coventry would probably have been planned out of existence anyway.
In one respect, Coventry had been ready for the attacks … the vision of “Coventry of Tomorrow” was exhibited in May 1940 – before the bombing started. [City engineer] Gibson later recalled that “we used to watch from the roof to see which buildings were blazing and then dash downstairs to check how much easier it would be to put our plans into action”.
The Society for the Protection of Ancient Buildings had estimated that 120 timber houses had survived the war … two thirds of these would disappear over the next few years as the city engineer pressed forward with his plans … A few buildings were retained, but removed from their original sites and moved to Spon Street as a sanitised and inauthentic historic quarter.
Today, whatever integrity the post-war building ever had has been undermined by subsequent undistinguished alterations and replacements. Coventry has been more transformed in the 20th century than any other city in Britain, both in terms of its buildings and street pattern. The three medieval spires may still stand, but otherwise the appearance of England’s Nuremberg can only be appreciated in old photographs.
In fact, the destruction had begun before the war. In order to make the city easier for drivers, the west side had been knocked down in the 1930s, the area around Chapel St and Fleet St replaced by Corporation St in 1929-1931. After the war it would become a shopping centre.
Old buildings by Holy Trinity Church were destroyed in 1936-7, and that same year Butcher Row and the Bull Ring were similarly pulled down, the Lord Mayor calling the former “a blot in the city”.
Indeed, the city architect Donald Gibson hailed the Blitz as “a blessing in disguise. The Jerries cleared out the core of the city, a chaotic mess, and now we can start anew.” He said later that “We used to watch from the roof to see which buildings were blazing and then dash downstairs to check how much easier it would be to put our plans into action”.
Gibson’s plan became city council policy in February 1941, with a new civic centre and a shopping precinct inside a ring road. The City Engineer Ernest Ford wanted to preserve some old buildings, including the timber Ford’s Hospital, which had survived the Blitz. Gibson said it was an “unnecessary problem” and in the way of a new straight road.
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July 20, 2023
Three phases of a cultural cycle
Chris Bray visits an art museum and shares some thoughts provoked by his experiences:
There’s a moment, in a museum supported by a deep permanent collection, when you transition from glowing oil paint depictions of Lord Major Fluffington P. Farnsworth-Hadenwallace, Seventh Earl of Wherever, Ninth Duke of Someotherplace, posing in his lordly estate with a bowl of fruit and his array of status decorations, to the shocking emergence of late-19th century innovations in painting, and you find yourself thinking that huh, this Renoir dude really knew his stuff, like you’re the first person to ever notice.
Good eye, Sterling
These explosive moments of creativity were usually social: artists gathering, talking, seeing the work of other artists and thinking about new ways of seeing and showing. Individual acts of artistic liberation appeared in the context of an emerging cultural freedom. Renoir and Monet hung out together.
You can see the tide coming in and going out. You can watch enormous waves of joyful innovation, or — respectful nod to the German Expressionists — anxious and anguished innovation. It’s on the wall: here’s the moment when people experienced unusual freedom of vision. You can see artists pursuing beauty with disciplined attention, in a cultural atmosphere that allows the pursuit.
And it’s just so abundantly clear that something opened in the world, somewhere between 1870 and … 1950? Or so? And then it began to close, and the closure recently began picking up force. There are periods of general creativity and periods of general stultification and retrenchment; there was one Italian Renaissance, one Scottish Enlightenment, and so on. Weimar Germany, sick as it was, fired more brilliant art into the world in twenty years than many cultures produce in a period of centuries, though a certain teenager who lives in my house would like you to know that Fritz Lang sucks and please stop with those boring movies and I’ll be in my room.
So it seems to me that the first part of the cultural cycle is the making phase, the period of astonishing innovation; then comes the consolidation and appreciation, the moment the heirs to sewing machine fortunes show up and notice how good everything is; then comes the phase when a few monk-equivalents try to keep the record of accomplishment alive in the context of a hostile or indifferent culture, while most institutions reject innovation and turn to scolding, wrecking, and cannibalization. The fifth Indiana Jones movie. She-Hulk. Like that. I just spent twenty minutes in a Barnes and Noble, and the “new fiction” section may still be making me feel tired next week.
We’re living through a decline in fertility — in literal fertility, in rates of people being married and making babies and hanging around to raise children — at the moment when cultural fertility also seems to be going into freefall. Your results may vary, but I’m finding the moment manageable, largely with piles of earlier books and the occasional sprint to a place like the Clark. Fecundity and sterility appear in cycles, but you can time travel. You can reach back. Mary McCarthy got me through June, and Willa Cather is helping with July. Evelyn Waugh covered roughly February through May.
If you’re near the Berkshires, a worthwhile Edvard Munch exhibit is around until mid-October.
It’s very strange to be in the river and then to suddenly notice that it isn’t running — you’ve hit a long stretch of dead water, so still it starts to stink. I assume it will pass. But until then …
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July 10, 2023
Barbara Kay – “[M]any Canadians [suffer] from highly contagious, patriotism-suppressive Post National Syndrome”
Canadians are deluged with messages that imply — or explicitly demand — that they should be ashamed of Canada and of being Canadians. That there is nothing to celebrate in our history or cultural achievements and instead we should humbly beseech forgiveness for our many, many, many sins. Barbara Kay disagrees:
On Canada Day, near St. Sauveur, Quebec, we were treated to torrential rain, hail, nearby tornado warnings, and continually flickering power. Not a day for fireworks. Just as well, since fireworks are the last thing one craves when one suffers, as many Canadians do, from highly contagious, patriotism-suppressive Post Nationalism Syndrome.
This scourge cannot yet be cured, since it was intentionally cultivated and released into the environment by the current government. Only herd immunity can end it. However, the symptoms of Post Nationalism Syndrome can be alleviated by certain traditional antivirals, like National Postism. Last Saturday’s NP featured several commentaries that buoyed my spirits, in particular Michael Higgins’s misery-loves-company column, “Stop shaming and start celebrating Canada”.
Higgins enumerates recent examples from a tiresome litany of complaints by our elites that “want to turn us into a nation of self-flagellating penitents”. The National Gallery of Canada insinuates that Canada’s iconic artists, the Group of Seven, are linked to white supremacy; a parliamentary motion endorses the residential school system as “genocide”; the attorney general actively considers legal sanctions against “denialism” — dissent from genocide as a proper descriptor (including me); and the erasure of Sir John A. Macdonald’s name from the eponymous Parkway.
In a nearby feature, the false claim that Macdonald was a guilty party in the alleged schools genocide was handily demolished by lawyer Greg Piasetzki, titled, “John A. Macdonald saved more indigenous lives than any other prime minister”. This evidence-based rejoinder to sticky defamatory myths about Macdonald is an excerpt from a new book of essays by 20 writers, The 1867 Project: Why Canada Should be Cherished — Not Cancelled, published by the Aristotle Foundation, and edited by its founder and president, Mark Milke.
Piasetzki’s essay mirrors the 19 others in its forthright challenge of our culture’s reigning anti-western dogmas, which brand Canada as a failed nation. Every author encourages the pride in being Canadian that has not dared to speak its name since Justin Trudeau came to power. I highly recommend it. If enough Canadians read it, we might arrive at herd immunity to Post Nationalism Syndrome.
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June 13, 2023
Why The Far Side is a masterclass in storytelling
The Gaze
Published 26 Dec 2019The Far Side by Gary Larson is one of the best and most praised cartoons in history. But what makes The Far Side so good? What is the legacy of Gary Larson? And most importantly: what can we learn from The Far Side?
0:00 Pixar and Storytelling
1:22 How Gary Larson tells a story
2:42 The Far Side facts and figures
3:22 The level of detail in The Far Side
4:04 Telling a story with one image and a punchline
5:09 What is The Far Side about?
7:11 Gary Larson and naturalism
7:40 Controversy over The Far Side
8:10 The legacy of The Far Side
9:00 Conclusion
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April 18, 2023
Canada Council for the (decolonized) Arts
In the latest SHuSH newsletter, Kenneth Whyte follows up on an earlier report on the mission of the Canada Council for the Arts, as outlined by Simon Brault:
… the founders of the Canada Council felt so strongly about the dangers of bureaucratic and political impositions on the arts — officials using federal money to force artistic and cultural activities in one direction or another — that they built checks and balances into its founding legislation.
The checks and balances haven’t checked or balanced. The Canada Council is now fully dedicated to teaching, censoring, and directing artistic endeavour.
The occasion for last year’s piece was a decision by Simon Brault, chief executive of the Canada Council, to halt funding for any “activity involving the participation of Russian or Belarusian artists or arts organizations … This includes partnerships, direct and indirect financing of tours, co-productions, participation in festivals or other events held in Russia.”
The outcome of Brault’s edict was that Canadians last summer weren’t able to enjoy a variety of planned tours by performers who had the misfortune to be born in Moscow, even if they loathed Putin like the rest of us.
It wasn’t the extremity of Brault’s position that set me off — he reserved to himself the right to ban artistic interaction with artists from any country whose government was involved in a conflict he considered unjust — so much as his implication that the arts community was too stupid to have noticed what was happening in Ukraine or to have known how to respond without his guidance.
A few months ago, Brault upped the ante, speaking at the council’s annual general meeting of his “vision for a decolonized future of the arts”.
To actualize this vision, we must also decolonize the Council itself by questioning our own assumptions and convictions.
It is important to acknowledge that decolonization is a complex, evolving, and open concept and journey.
There’s no definitive guide on how to undertake this work.
And it has different implications for different organizations and sectors in our society.
So far, our understanding is that to decolonize the Council, we must agree to reframe our understanding of what constitutes art, which is a big thing for an arts council.
We need also to question the notion of professionalism and artistic disciplines, which are deeply rooted in a very specific time in history, mostly Eurocentric, and often from a very colonialist perspective.
So, we need to challenge the notion of “artistic excellence”, again a concept that upholds hierarchies of good taste and values that confirm and perpetuate the status of the dominant culture.
We also need to move beyond limited notions of artistic expertise because those notions are often the direct product of an education system built to reproduce power relations and safeguard the privilege of a dominant colonial discourse on arts and culture.
There you have it. Brault committed the leading funding agency for the arts in Canada to “challenging” the prevailing understandings of art, artistic professionalism, artistic disciplines, artistic excellence, good taste, artistic values, and artistic expertise.
He’s not quite clear on what he’s going to replace it all with — he’s just sure that the way you think about art is wrong and that Keynes statement that the work of the artist is by nature individual and free, undisciplined, unregimented, uncontrolled, etc., is colonialist claptrap.
Let the regimentation and control begin.
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March 7, 2023
QotD: The Stoic view of beauty
Stoics were thoroughgoing materialists. Even the soul, the life-force, whatever you want to call it (their term was pneuma), was conceived of as a physical thing: Elemental fire. (This is another reason I wanted to start with Stoicism. You can build a fine life, and a strong community of men, with, say, Ignatius of Loyola, but since this is the Postmodern world anything overtly religious will turn off the very people who need it most. Stoicism is tailor-made for modern “atheists” (just don’t tell Marcus himself that)).
Like all materialists, then, Stoics had a real problem with things like beauty. If you’re a materialist, Beauty is either a refutation of your theory, or a tautology (“certain arrangements of atoms produce chemical reactions that our brains interpret as pleasant” is just a fancy way of saying “beautiful things are beautiful because they’re beautiful”). Back in grad school, in one of the deepest, darkest, most dungeon-like corners of the university’s book morgue, I discovered Ayn Rand’s attempt at an Objectivist aesthetics. Her conclusion, stripped of her inimitable self-congratulatory prose, is here:
At the base of her argument, Rand asserts that one cannot create art without infusing a given work with one’s own value judgments and personal philosophy. Even if the artist attempts to withhold moral overtones, the work becomes tinged with a deterministic or naturalistic message. The next logical step of Rand’s argument is that the audience of any particular work cannot help but come away with some sense of a philosophical message, colored by his or her own personal values, ingrained into their psyche by whatever degree of emotional impact the work holds for them.
Rand goes on to divide artistic endeavors into “valid” and “invalid” forms …
In other words, there’s no art, only propaganda. Looks like ol’ Marcus really missed a trick, statecraft-wise, doesn’t it?
Severian, “On Fine Writing Etc.”, Everyday Stoicism, 2020-05-04.
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February 8, 2023
QotD: How do the “great works of art” become “great”?
That was what got him thinking.
Have you ever fallen for a novel and been amazed not to find it on lists of great books? Or walked around a sculpture renowned as a classic, struggling to see what the fuss is about? If so, you’ve probably pondered the question Cutting asked himself that day: how does a work of art come to be considered great?
The intuitive answer is that some works of art are just great: of intrinsically superior quality. The paintings that win prime spots in galleries, get taught in classes and reproduced in books are the ones that have proved their artistic value over time. If you can’t see they’re superior, that’s your problem. It’s an intimidatingly neat explanation. But some social scientists have been asking awkward questions of it, raising the possibility that artistic canons are little more than fossilised historical accidents.
Cutting, a professor at Cornell University, wondered if a psychological mechanism known as the “mere-exposure effect” played a role in deciding which paintings rise to the top of the cultural league. In a seminal 1968 experiment, people were shown a series of abstract shapes in rapid succession. Some shapes were repeated, but because they came and went so fast, the subjects didn’t notice. When asked which of these random shapes they found most pleasing, they chose ones that, unbeknown to them, had come around more than once. Even unconscious familiarity bred affection.
Back at Cornell, Cutting designed an experiment to test his hunch. Over a lecture course he regularly showed undergraduates works of Impressionism for two seconds at a time. Some of the paintings were canonical, included in art-history books. Others were lesser known but of comparable quality. These were exposed four times as often. Afterwards, the students preferred them to the canonical works, while a control group of students liked the canonical ones best. Cutting’s students had grown to like those paintings more simply because they had seen them more.
Cutting believes his experiment offers a clue as to how canons are formed. He points out that the most reproduced works of Impressionism today tend to have been bought by five or six wealthy and influential collectors in the late 19th century. The preferences of these men bestowed prestige on certain works, which made the works more likely to be hung in galleries and printed in anthologies. The kudos cascaded down the years, gaining momentum from mere exposure as it did so. The more people were exposed to, say, “Bal du Moulin de la Galette”, the more they liked it, and the more they liked it, the more it appeared in books, on posters and in big exhibitions. Meanwhile, academics and critics created sophisticated justifications for its pre-eminence. After all, it’s not just the masses who tend to rate what they see more often more highly. As contemporary artists like Warhol and Damien Hirst have grasped, critical acclaim is deeply entwined with publicity. “Scholars,” Cutting argues, “are no different from the public in the effects of mere exposure.”
Ian Leslie, “The Mona Lisa Effect”, The Ruffian, 2022-10-29 (originally published in Intelligent Life in 2014.
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January 16, 2023
QotD: The avant-garde
Of course, in certain fields the latest is inclined to be best. For example, no one would wish to be treated surgically using the methods of Sir Astley Cooper: but if we want modern treatment, it is not because it is modern but because it better as gauged by pretty obvious criteria. If it were worse (as very occasionally it is), we should not want it, however modern it were.
Alas, the idea of progress has infected important spheres in which it has no proper application, particularly the arts. It is difficult to overestimate the damage that the gimcrack notion of teleology inhering in artistic endeavour has inflicted on all the arts, exemplified by the use of the term avant-garde: as if artists were, or ought to be, soldiers marching in unison to a predetermined destination. If I had the power to expunge a single expression from the vocabulary art criticism, it would be avant-garde.
Theodore Dalrymple, “Architectural Dystopia: A Book Review”, New English Review, 2018-10-04.
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January 13, 2023
The greatest conspiracy in ancient art
BBC Reel
Published 7 Sep 2022Do we have a bias against colour in classical art?
Matt Wilson explores prejudices that have built up over centuries – leading to what has been labelled ‘chromophobia’, the subject of an exhibition at New York’s Metropolitan Museum of Art.
Wilson finds out why we don’t value colour, questioning a centuries-old misunderstanding. As Chroma’s curator Sarah Lepinski tells him: “It’s important that audiences come to understand the way they see ancient Greek and Roman sculpture isn’t the way it was first created.”
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December 12, 2022
“The reason that Canada’s arts do not resonate with 95% of Canadians is that they are products of socialist realism’
Elizabeth Nickson on the parasitic world of official “Canadian culture” with its gatekeepers, subsidies, and luxury beliefs:
When I say society, I don’t mean the upper reaches of the wealthy. While we do have the very rich in Canada, they are rigorous in their hiddenness because we have the worst lefties on the continent and that is saying something. The safe thing for any wealthy family is give $ to socialists, bow and scrape to the harpies at the CBC and hope they don’t notice your bank balance. Anyway, these dreadful people arrived post WW2 with their hideous Frankfurt School ideas and just preyed on the simplest most innocent well-meaning good white people you could ever imagine, and literally ate, ravenous and braying all the while, the country’s potential.
So the scandal took place among them, or rather the world they created, which is basically a clutch of 150,000 grifters located between Ottawa, Toronto and Quebec City, whose only mission is to divest the government of as much public money as possible. This is particularly true of their defensive line which consists of the arts and journalism. Theirs is a world where no stone is left unsubsidized by taxes on the hidden rich, waitresses at truck stops in Kamloops and anyone who dares to make money unapproved by the CBC. They are, as a former editor swore to me, the gatekeepers. That was before her circulation collapsed by 65%., but no doubt she still believes it.
The arts and media in Canada are constructed entirely for the 5%, consumed by those who live the lush subsidized life — or those who want to — whether in government or in semi-independent corporations or businesses who require government help and “seed” money etc. (There are a hundred terms for the grift.)
Books, if you look at their sales, are tragic. There have been a handful of impressive films, despite the literal billions thrown at filmmakers over the past 20 years. Most of them are catastrophically depressing, the books make you want to cut out your heart with a grapefruit spoon. Painters paint, if you subtract all the hectoring from minor artists, from forced inclusion, some of them are very good. We can create good art. But not with our current curators.
The reason that Canada’s arts do not resonate with 95% of Canadians is that they are products of socialist realism. They describe humans and human life as they either believe it to have been (dark and in need of enlightened beings like themselves) or as they feel it must be in the future (filled with people expressing their oppression and being paid for it). It’s basically fantasy, and no one likes it, watches it, reads it.
The rest of Canada is a centre-right country, a gut-it-out-and-build-it-kind of place. I know that is the exact opposite of the propaganda, but Conservatives win a majority of the votes in every election, yet still only amount to 40%. We have five parties, and four of them are leftie — their platforms are all “more money for us” — but the big party, the one that receives about 30% of the vote is so crafty, so embedded in our vast vast bureaucracy that fixing the game is child’s play. Informed by their Frankfurt School gurus, they have been in power 100 years, with brief Conservative interludes.
We take in about half a million immigrants a year, and most of them are from desperate places. Vote harvesting in those neighborhoods is done by leaders in each immigrant community. These men and women are the strongest, most educated and frankly from the ones I’ve met, thuggish, and through them comes all access to government programs, housing and education. Therefore, when they collect your vote, you know for whom your vote is meant. The thing about immigrants though is that they were coming for the old Canada, not the new Commie police state.
But for now? Easy. No one investigates this. Why not? Our media is subsidized. ALL of it.
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November 10, 2022
QotD: Sarah’s rules of art
And why was this a bad idea, Sarah?
Mostly because I’m married to a mathematician. There is a certain … ah … compulsiveness that comes with it. If there’s something that’s numbered and has a route, we OF COURSE have to follow the route and see every single statue, even if that’s not what we set out to do.
This made things very interesting, since the wedding parties were blocking some of the statues, and others we could see from a distance were the sort of modern art that your kids could do with a backyard forge, meaning the actual level of artistry was about the level of a kindergartner, only they used metal instead of playdough.
This leads us to Sarah’s first rule of art: if people viewing it have trouble telling it from accidental formations, it’s probably not art.
The second corollary of this is: if you need an elaborate card pointing out to you that it’s art, it’s probably not art.
The third would be that if you need a placard explaining to you how daring and courageous this art is, and how it defied some tyrannical regime at great peril to the artist’s life, it’s not only not art, you’re in the presence of a self-aggrandizing conman.
Sarah Hoyt, “Art and Revolution”, According to Hoyt, 2019-05-31.
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