Tag: a culture of change

This and other posts that discuss painting, more on painting and even more on painting, are an effort to understand how painting has become a suspect art form. How had it become assumed, among the cognoscenti, that painting has an irredeemable connection to everything that was wrong with art and society before the post-modern revolution? These blogs also explore the role of painting in the wider Western socio-political realm outside the arts. Modernist painting (and less so sculpture) has been singled out as representing the cultural sins of the current epoch and its repudiation was to be an expiation. However, radical changes in painting, how painting is defined and ways paintings are evaluated, have made no improvements to Western society. It could even be said that the current place of painting and other arts, is worse than at any time in history. This is because, in the last half-century, the culture of getting and spending has come to dominate most areas of life including painting and the arts. The commodification of the visual arts is such that it is now the second most lucrative area for investment after real estate and this has had a deleterious effect on Western culture.

The question is whether painting is relevant and can have an impact on the wider society, or whether it is an art form that is only about the painters’ connection to the painting and the viewer’s personal connection to the painting. Is it a passive art form or can it make the leap from canvas to galvanizing political action?

Paintings in History

In many periods of history, painting has played a powerful role as political propaganda. Earlier civilizations such as the Egyptians, Assyrians, Greeks and Romans used murals, bas-reliefs and sculptures to celebrate political triumphs and the power of the elites. This tradition continued through the 20th century with the commissioning of paintings and sculptures commemorating battles won and their victorious winners. As the last centuries’ winners have been outed as ruthless and immoral by any standards, there has been demands for removal of these sculptures and paintings from the public realm. So in that sense, paintings depicting the triumphs of ruthless men have had a strong political impact even in the present day.

There have been powerful paintings that generated controversy and influenced public attitudes and even political outcomes that were not sanctioned by ruling elites. For example, the painting below, Raft of the Medusa, had scandalous political implications in France; the incompetent captain, who had gained the position because of connections to the Bourbon Restoration government, fought to save himself and senior officers while leaving the lower ranks to die, so Géricault’s picture of the raft and its inhabitants was greeted with hostility by the government. As Jake Hirsch-Allen says in his analysis, “the power of The Raft as a political tool of propaganda was immediately apparent and has been its most enduring historical facet. As the story of the Medusa became a cause célebré, embroiled in the complexities of
Bourbon-restoration politics and tensions between the Liberal and Royalist factions…and, as
events progressed, with the highly emotive subject of the slave trade, the Raft of the Medusa
itself became a symbol these debates.”

Though Géricault’s painting was still part of in the heroic “history painting” style, this muscular work was transformative in re-defining the scope of painting’s subjects and impacts.

The Impressionists

While Impressonists such as Claude Monet and Edouard Manet are not usually associated with shaping political attitudes, their work had influence. As art historian Nancy Locke said in transcripts of her talk to students at Penn State University, “By painting the homeless, for example, Manet depicted the social implications of poverty. Similarly, by painting scenes which blurred class lines (like many subjects of the Impressionist canvas), artists influenced shifts in society.”

In his paper on Intersections of Art and Politics, John Kim Munholland, argues that Monet also communicated a strong political message, “The Rue Montorgueil, Celebration of June 30,1878 and its twin The Rue Saint-Denis, Celebration of June 30, 1878, in which the words “Vive la République” appear on a flag…blurred class differences with their patriotic, republican messages. Set in the streets of a popular quarter of Paris, they reminded viewers that the Commune uprising also had been an expression of outraged and frustrated nationalism among the people of Paris, who had held out against the Prussians during the siege, but had been forced to capitulate by the Versailles government.”

Early-Modernism

The “history painters” and Impressionists sought to influence the direction of their societies through content, or depiction of their subjects. The modernists scorned content and expressed themselves only through form. For instance, Piet Mondrian, working during the appalling upheavals in Europe during the 1930’s & 40’s, believed that his work was a “plastic vision” that would help to set up ” …a new type of society composed of balanced relationships”.

According to the online Encyclopedia Britannica, Mondrian’s artistic direction was “Rooted in a strict puritan tradition of Dutch Calvinism and inspired by his theosophical beliefs, he continually strove for purity during his long career, a purity best explained by the double meaning of the Dutch word schoon, which means both “clean” and “beautiful.” Mondrian chose the strict and rigid language of straight line and pure colour to produce first of all an extreme purity, and on another level, a Utopia of superb clarity and force. When, in 1920, Mondrian dedicated Le Néo-plasticisme to “future men,” his dedication implied that art can be a guide to humanity, that it can move beyond depicting the casual, arbitrary facts of everyday appearance and substitute in its place a new, harmonious view of life. This kind of magical thinking is like a poignant glimmer of a previous era’s optimism about art and the human imagination. Mondrian’s philosophy could be thought of as self-indulgent navel-gazing, except for the fact that it produced these astounding works of art and revolutionized thinking about painting.

Modernism

From a twenty-first century perspective, the conviction that rigidly controlled lines and blocks of colour could contribute to world peace seemed laughable. Modernists, like the Minimalists who came after Mondrian, did not share his belief in the power of art to transform society. Like Frank Stella they had a reductionist approach to art, wanting only to demonstrate that every painting is “a flat surface with paint on it—nothing more”, and rejected the idea art as a means of expressing emotion. He summarized his apolitical and anti-social approach by saying, “My painting is based on the fact that only what can be seen there is there. It really is an object… All I want anyone to get out of my paintings, and all I ever get out of them, is the fact that you can see the whole idea without any confusion…. What you see is what you see.“

So with Modernism, painting became what in another blog is described as “self-reflexive”, or concerned only about itself. This could be considered to be a political statement as it is in keeping with the growing individualism of the second half of the twentieth century. Ties to community were weakening and western governments pressured their citizens to become individualistic consumers to bolster the economy.

The drive for purity by Modernists like Frank Stella, Ellsworth Kelly, and Kenneth Noland influenced, and was strongly influenced by, the thinking of the American art critic, Clement Greenberg. His theories could be said to have built on the ideas about purity that inspired Mondrian, but lacked the painter’s Calvinist & Theosophical zeal.

Greenberg believed in progressively purifying painting of all representation and illusion and promoted the hard-edged and colour-field abstractions of his favourite artists. Mondrian believed that his painting would contribute to a more harmonious and peaceful world. The only rationale provided by the Modernists for cleansing away any spatial depth or sculptural qualities in painting, was that it is ridiculous to try to create spatial illusions on a flat surface. Modernists did not feel that art should play a role in the larger world, but believed in “art for art’s sake”. The rise of a consumer culture and the commodification of art during this period was not a concern.

Post-Modernism

The Postmodernists were more aware of consumerism and the emerging role of the art market but the movement tried to neutralize it by absorbing it. Postmodernists reversed the Modernist contempt for popular culture, the mass media and mass consumerism and looked for inspiration in the everyday. In his blog The Postmodern Revolution, David Adams comments that this approach “…seemed much more vital than modernist art. (See for example fig. 7, which also suggests the revival of painting that took place).”

Adams goes on to say, “…postmodernism refers to the end of an epistemologically centered philosophy based on the efforts of a knowing subject to know truth by achieving a true mental representation of objective reality (the Cartesian subject-object dualism). It argues (among many other things) that there is no temporally invariant truth since human understanding is always historically-based (or “contingent”).

Post-modern relativism, which has been discussed in other blogs, was a direct outgrowth of the individualist and anti-social introspection of the Modernist era. In this approach, not only does painting have no relation to anything outside itself, it assumes that there is nothing outside itself that is true – only what a particular individual might happen to believe. This brings us to the present day where relativism is widely held and could be called the dominant paradigm. Part of this paradigm is that there can be no possibility of an authoritative assessment of artistic worth or quality as everything is only relative. Anyone’s taste in art is equal to anyone else’s as there are no absolute or even conventionally accepted criteria. Into this moral and authoritative vacuum, the market has taken on the role that used to be held by what used to be called experts on art.

The Market Monster
In a culture of getting and spending where there are no other standards for gauging excellence in art, the marketplace is the logical arbiter. A painting is worthwhile if it can obtain a high price. A previous post, On Theories of Art, suggested that objective assessments of art are difficult to attain because art is about feelings rather than reason, but feels the need to be justified by some form of reason other than marketability. As in all aspects of life in a capitalist society, the market has skewed relations between artists and their work and between artists and viewers.

Though written in 1975, Harold Rosenberg’s Art on the Edge, contains many ideas that remain highly relevant. Rosenberg calls the influence of the marketplace on the direction of contemporary art “…a process of transformation whose end is not in sight” (p.8) and over 40 years later, this transformation continues to mutate. For an artist, alternatives to the market are either art-as-criticism, (parody, irony, subversion) or making art for oneself. The irony is that ironic, subversive, parodies of art have been absorbed by the establishment so that they happily sponsor shows that are opposed to them. “To create the illusion of an adversary force, everything that has been overthrown must be overthrown again and again”. (p.90)

This relates to a discussion in the previous post describing the current epoch as not a changing culture but a culture of change. The ideology of constant change has, like the end of history, eliminated real change. It will not be possible to rescue art from the market’s perverse influences through renunciation of artistic sins that went before. And it is naive to believe that one art form or another can have an effect on a pervasive economic system that manipulates every aspect of life.

The Contemporary Era

As I am an artist not a scholar, this is a necessarily brief and sketchy overview of the social and political influence of the visual arts, especially painting, over the last 100 years. I have divided art history into three major art movements: Pre-Modernism, Modernism and Post Modernism. These divisions are only visible from historical perspective and the current era is made up of many disparate schools such as Post-Post-Modernism, Anti-Art, Conceptual Art, Site Specific Art, Installation Art, etc. Their commonality is the assumption that easel painting is dead, or at least irrelevant. But as I have argued here, jettisoning easel painting and conventional concepts of aesthetics, has done nothing to bring greater harmony or halt the commodification of art. Western societies teeter on the brink of instability and the art market continues to go from strength to strength. As I update this blog in April of 2024, I include the latest figures for the art market in 2023 from Artsy:

“The art market experienced a down year in 2023. Total sales in the art market fell by 4% year over year to $65 billion. The figure represents the lowest since the COVID-blighted year of 2020, but is still higher than pre-pandemic levels when sales were $64.4 billion”.

However, their good news for art market was:

“Most dealers and auction houses expect stable or improving sales in 2024, and those predicting lower sales were in the minority both for their own businesses and with their peers.“

This is not the Utopian, harmonious culture that Mondrian hoped to bring about through an extreme purity, superb clarity and force in painting. The modernists and post-modernist that followed, and the elimination of aesthetics and painterly painting they endorsed, have been happily absorbed by the market. So where does this leave contemporary art and artists? This is a topic for future blogs about even more on painting.