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Debatable – The greatness of modern art is in its power to provoke thought and discussion, often in the form of passionate debate.
Modernism, at its core is 'progressive', which is at the very essence of the human condition. As subject matter, the human condition is a major theme of modernity. Artists strive to either illustrate it from a purely objective point of view, or affect change within it, by getting people to reexamine their own values. After all, what is the 'human condition' if not the consequence of contemporary values?
But here, we arrive at the duality of Modernism; it has a human element and a conceptual one. Surprisingly, more often than not, when these two elements are at odds, it is the human element that is sacrificed to the conceptual, not the other way around. However, when we adopt the thought that ideas are more valuable than human beings, then this branch is anti-modern, because it is not progress for the human being.
A good example of this is the religious idea. Examples such as these, lead to anti-modern behavior such as war; the total destruction of human beings. Traditionalism is another good example. I think it's rather obvious that tradition is anti-progressive, and consequently, anti-modern.
Coming back to the opening statement; debate provoking art stimulates the mind and presses the human ahead into brave new territory. Just as new technology reinvents the world by reshaping all the problems and how we approach them, it also changes our values in exactly the same way. Art is just like this, a new tool, a new technology. The only difference is that, with art, progression of the human condition is the primary objective.
Art is 'the quick fix'. As modern technology reinvents the world, solving old problems, but also creating new ones, art identifies those new challenges, points them out to us, and forces us to challenge them next.
Sometimes, these 'new challenges' are not so new. Sometimes the only thing new about them is our will to challenge them when before we would not. In such cases, it's important to begin by examining why it is that we could be aware of such problems for some time, but lack the will to challenge them. Often times it boils down to some rather anti-modern source, like religion; some antiquated idea, conceived at a time when the world was very different. The world moved forward, but the ideas stood still, and now we find them holding us back, now we find ourselves back in that place where ideas are more valued than human beings, now we find ourselves at war, now we find ourselves struggling to destroy all humanity for some old idea.
This is the birth of tragedy. This is the birth of art. This is where art steps in, for the sake of humanity, and tries to smack some since into us before it goes any further. It's only natural that art should meet with resistance. It challenges the status quo. But the status quo benefits some lucky few at the expense of the masses. And these fortunate few will do and say anything, to get the masses to believe that they are better off as their slaves than liberated. So art steps forward to illustrate the hypocrisy of their argument, it asks the essential question: If slavery is so wonderful, why don't you join the rest of us and come down from your throne? Art reveals the weakness of their argument.
Modernism, at its core is 'progressive', which is at the very essence of the human condition. As subject matter, the human condition is a major theme of modernity. Artists strive to either illustrate it from a purely objective point of view, or affect change within it, by getting people to reexamine their own values. After all, what is the 'human condition' if not the consequence of contemporary values?
But here, we arrive at the duality of Modernism; it has a human element and a conceptual one. Surprisingly, more often than not, when these two elements are at odds, it is the human element that is sacrificed to the conceptual, not the other way around. However, when we adopt the thought that ideas are more valuable than human beings, then this branch is anti-modern, because it is not progress for the human being.
A good example of this is the religious idea. Examples such as these, lead to anti-modern behavior such as war; the total destruction of human beings. Traditionalism is another good example. I think it's rather obvious that tradition is anti-progressive, and consequently, anti-modern.
Coming back to the opening statement; debate provoking art stimulates the mind and presses the human ahead into brave new territory. Just as new technology reinvents the world by reshaping all the problems and how we approach them, it also changes our values in exactly the same way. Art is just like this, a new tool, a new technology. The only difference is that, with art, progression of the human condition is the primary objective.
Art is 'the quick fix'. As modern technology reinvents the world, solving old problems, but also creating new ones, art identifies those new challenges, points them out to us, and forces us to challenge them next.
Sometimes, these 'new challenges' are not so new. Sometimes the only thing new about them is our will to challenge them when before we would not. In such cases, it's important to begin by examining why it is that we could be aware of such problems for some time, but lack the will to challenge them. Often times it boils down to some rather anti-modern source, like religion; some antiquated idea, conceived at a time when the world was very different. The world moved forward, but the ideas stood still, and now we find them holding us back, now we find ourselves back in that place where ideas are more valued than human beings, now we find ourselves at war, now we find ourselves struggling to destroy all humanity for some old idea.
This is the birth of tragedy. This is the birth of art. This is where art steps in, for the sake of humanity, and tries to smack some since into us before it goes any further. It's only natural that art should meet with resistance. It challenges the status quo. But the status quo benefits some lucky few at the expense of the masses. And these fortunate few will do and say anything, to get the masses to believe that they are better off as their slaves than liberated. So art steps forward to illustrate the hypocrisy of their argument, it asks the essential question: If slavery is so wonderful, why don't you join the rest of us and come down from your throne? Art reveals the weakness of their argument.
Retrospect
It's been about a decade since I've done anything artistic. So, it's a bit like stepping into an old abandoned house to see these works from years gone by. It's definitely different to look at what I did and what I said about it at the time. Looking back, I feel that, in the moment, perhaps I really didn't understand the truth behind the work or perhaps I understood, but was afraid to be honest about it (with myself and all of you). I certainly made mistakes. But I think those mistakes are part of the process. One of the most glaring mistakes can be seen in the journals where I talk ABOUT art; more specifically, how I speak of art-making as if "all artists are doing it for the same reasons", an a naive attempt to create a kind of Universal Theory of Art. That was just plain stupid. And again, perhaps this was simply to mask my true intentions. Here's the real reason, and again, it's only MY reason, not THE reason: I made Art because I wanted to be seen. I felt unseen. I felt myself
Done painting!
All done painting! I gave all my paintings away, because, well, no one was buying them. And quite frankly, I'm too god damned poor to take care of them.
Gone a new direction now:DSLR "filmmaking".
Been making mostly commercials for a salon so that I can get some god damned money to survive. Using the money to replace my worthless fucking "fine arts" materials, with DSLR Gear.
Running 2 Canon T2i cameras with Magic Lantern Firmware and a bunch of fucking M42 mount Pentax lenses. Got a fuckton of Condenser microphones and a Zoom R24 for Audio, which s nice, because it means I can ditch my 12 cannel mixer. Looking forward to the Zoom H6,
Personal review
I think I prefer to work in the foreground because it allows me to avoid problems with the horizon. The horizon has always been problematic to me.
In wall art, horizon dictates the propper height of the viewer. It means, once I have decided upon the size of my canvas and the location of a horizon line, I have predetermined the optimal viewing height of the observer. Yet, as an artist, I have little control over the architecture of a room that the work will ultimately be exhibited in, or even the height. Quite often, the height is determined by a designer, and constrained by the celing height of the room. So an over sized painting is oft
Art as Argument
Like a good argument, art is the conclusive presentation, which rests upon sound propositions. The legitimacy of that conclusion is determined by the logical structure of it's propositions, when they are known and accepted.
The problem with much of Contemporary art is that the propositions are not known by the general public, nor even, in many cases, of the artist's own peers. And often times, when it is made explicit, it can remain unaccepted among the initiate, because in the minds of these creative insiders, the universe itself is not a fixed thing, but rather a collection of ever changing variables. Therein, we find both, the dilemma a
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