After several days in California, I’m readjusting to the stubbornness of a winter overlord who won’t give up New England. Succession planning? We’re working on that. Spring is off stage, bedecked in faille, fluttering her white and pink organzas, just waiting for an entrance cue.
I had some memorable moments last week, both indoors as well as out. One morning was spent at the Gilbert & George exhibit at the De Young Museum. These two have made themselves into art icons over the last thirty years with their provocative poises, proddings, posturings, promulgations. Even though I have not ever been what I would term a G&G advocate, their campy pranks aren’t just empty suit stunts and theatrics. There is more going on than that.
For example, the following statements by the artists were posted at the beginning of the exhibit:
ART FOR ALL
We want Our Art to speak across the barriers of knowledge directly to People about their Life and not about their knowledge of art. The 20th century has been cursed with an art that cannot be understood. The decadent artists stand for themselves and their chosen few, laughing and dismissing the normal outsider. We say that puzzling, obscure and form-obsessed art is decadent and a cruel denial of the Life of People.
PROGRESS THROUGH FRIENDSHIP
Our Art is the friendship between the viewer and our pictures. Each picture speaks of a “Particular View“ which the viewer may consider in the light of his own life. The true function of Art is to bring about new understanding, progress and advancement. Every single person on Earth agrees that there is room for improvement.
LANGUAGE FOR MEANING
We invented and we are constantly developing our own visual language. We want the most accessible modern form with which to create the most modern speaking visual pictures of our time. The art-material must be subservient to the meaning and purpose of the picture. Our reason for making pictures is to change people and not to congratulate them on being how they are.
THE LIFE FORCES
True Art comes from three main life-forces. They are: –
and THE SEX
In our life these forces are shaking and moving themselves into everchanging different arrangements. Each one of our pictures is a frozen representation of one of these “arrangements“.
When a human-being gets up in the morning and decides what to do and where to go he is finding his reason or excuse to continue living. We as artists have only that to do. We want to learn to respect and honour “the whole“. The content of mankind is our subject and our inspiration. We stand each day for good traditions and necessary changes. We want to find and accept all the good and bad in ourselves. Civilisation has always depended for advancement on the “giving person“. We want to spill our blood, brains and seed in our life-search for new meanings and purpose to give to life.
Unfortunately saying doesn’t make it so…I didn’t find this exhibit of large format images to be any more accessible to the average viewer than most other contemporary work. There’s definitely an essential tension between these populist, anti-art world sentiments and the fact that G&G are driving their luxury car down the center lane of the Art World Circus Parkway, busily exhibiting their work in museums everywhere and merchandising a boatload of posters and printed ties.
But the sentiments expressed in these words, idealistic and naive as they may read when viewed in the hard-edged context of contemporary museum scale art, mean something to me. While I don’t want to flatten the complexity of the tangle of issues that exist in contemporary art dialogue today by promoting a bipartisan view of Art World vs Anti-Art World, it might be useful to make a few categorical distinctions. Doing so has been useful to me.
Here’s one set of demarcations that I have been road testing, and it seems to be holding together. Sally Reed, artist and smart friend, has borrowed traditional literary forms, epic and lyric, and applied them to the making of art.
Epic art, says Sally, deals with large arc issues like politics, philosophy, cerebral calibrations, identity and does so through installations in public spaces like art museums and international art fairs. It is often built on a strong narrative armature, with a heavy storytelling and/or content orientation.
Lyric art is more human scaled. Personal. Demanding a relationship with the viewer on an intimate level. This is art that usually exists outside of narrative, outside of time.
I make work that would be classified as lyric. But I have been amazed and moved by both types. Most of what gets written about and discussed however is epic. Advocacy for art that is intended to incite the intensity of a full body experience is hard to find.
More from Sally Reed:
No, I am not “telling a story” — for me it’s more like (how’s this for grandiosity?) creating a world. Or more modestly, creating a place, a “chamber.” When a piece is finished, it seems I am ready to invite people in. Or at least their gaze, their thoughts and feelings.
My problem with narrative is that it often is sequential and always takes place in time. I feel that when I am making art, when I am at my best, it takes place outside of time, as a dream does. For me, the experience of making (when I am in the flow) or experiencing art, is outside of time. I think this might be why many narrative based visual pieces that I like initially can bore me on a second or third viewing. And also why certain masterpieces are endlessly fascinating; there’s always a new way to approach, a new way to experience, to sort of “unfold” all the wonders with which they are packed.
There is more to say on many of these themes, which I will continue to explore going forward.
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