Suzi Gablik: Suzi Gablik: Has Has Modernism Modernism

Failed?Failed?(being Chapter 5 of Gablik(being Chapter 5 of Gablik’’s s

book with the same title)book with the same title)

Has Modernism Failed?Has Modernism Failed?

At first blush, it looks that way. At first blush, it looks that way. Modernism in art has gone from Modernism in art has gone from optimism and optimism and ““a crusading spirit of a crusading spirit of disobediencedisobedience”” to a mood of to a mood of ““decadence decadence and weary cynicism.and weary cynicism.”” Gilbert and Gilbert and George are a good example of the George are a good example of the result.result.

But to really answer the question, we But to really answer the question, we need to ask what modernism was trying need to ask what modernism was trying to accomplish. What were its values, to accomplish. What were its values, and has it done what it set out to do? and has it done what it set out to do?

The values of modernismThe values of modernism MarinettiMarinetti’’s Futurist Manifesto: get rid of s Futurist Manifesto: get rid of ““the the

stinking gangrene of professors, archaeologists, stinking gangrene of professors, archaeologists, touring guides and antiques dealerstouring guides and antiques dealers””, burn , burn museums and libraries. Get rid of tradition, in museums and libraries. Get rid of tradition, in order to bring on the new forms of speed and order to bring on the new forms of speed and technology. (So, almost a worship of technology. (So, almost a worship of technology.)technology.)

Dada: The corrupt, war-mongering modern Dada: The corrupt, war-mongering modern world doesnworld doesn’’t deserve art. Give it irrational t deserve art. Give it irrational baby-talk instead. Insult it with nonsense. (A baby-talk instead. Insult it with nonsense. (A rejection of rejection of ““the industrial diseasethe industrial disease”” – Dire – Dire Straits song.)Straits song.)

The values of modernismThe values of modernism

But both the futurist worship of the But both the futurist worship of the modern, and the Dadaist rejection of modern, and the Dadaist rejection of modern corruption, had the same modern corruption, had the same effect: Overthrow the past, reject effect: Overthrow the past, reject traditions, keep questioning, always traditions, keep questioning, always make something new. In other words, make something new. In other words, ““the newthe new”” became became ““the chief emblem of the chief emblem of positive value.positive value.”” (Question: do you think (Question: do you think this is an accurate assessment of this is an accurate assessment of modernism?)modernism?)

Problems with rejecting Problems with rejecting traditiontradition

““To sustain itself, a society must also To sustain itself, a society must also have values that resist change.have values that resist change.”” Modernism did not provide these. Modernism did not provide these.

As a result, there is now no way to As a result, there is now no way to measure success or failure, no measure success or failure, no standards to use as a reference. In standards to use as a reference. In fact, the end result of modernism is fact, the end result of modernism is that we now have no valid that we now have no valid conception of what a work of art is.conception of what a work of art is.

Problems with rejecting Problems with rejecting traditiontradition

““……[T]radition and authority may be [T]radition and authority may be necessary, even to make a genuine avant-necessary, even to make a genuine avant-garde possible—in order to provide garde possible—in order to provide something to revolt against.something to revolt against.””

One principle collapses into its opposite—One principle collapses into its opposite—the only way to be modern, now, is to the only way to be modern, now, is to borrow from the past. (Danto might borrow from the past. (Danto might agree, though he would give a different agree, though he would give a different explanation. Danto thinks that post-explanation. Danto thinks that post-historical artists play with the past, rather historical artists play with the past, rather than making anything historically new.)than making anything historically new.)

Problems with rejecting Problems with rejecting traditiontradition

““[M]odernism, as a tradition, . . . has failed [M]odernism, as a tradition, . . . has failed to develop the means for training artists.to develop the means for training artists.””

Question: is this your experience? Is Question: is this your experience? Is there a clear curriculum at Rowan in there a clear curriculum at Rowan in visual art? In music? Especially in the visual art? In music? Especially in the BFA programs. BFA programs.

Quote from Bruce Boice, speaking at SVA. Quote from Bruce Boice, speaking at SVA. ““ThereThere’’s no motivation, no rules to say s no motivation, no rules to say what you should do, or whether itwhat you should do, or whether it ’’s good s good or not.or not.

What art (and society) What art (and society) needsneeds

Basic human needs (from Erich Basic human needs (from Erich Fromm):Fromm):

RelatednessRelatedness TranscendenceTranscendence RootednessRootedness IdentityIdentity A frame of orientationA frame of orientation An object of devotionAn object of devotion

Has modernism failed?Has modernism failed? Modernism has failed to provide these Modernism has failed to provide these

basic things. basic things. Modernism has focused on the self, on Modernism has focused on the self, on

freedom and self-sufficiency, at the freedom and self-sufficiency, at the expense of these other basic needs. expense of these other basic needs. Barnett Newman: Barnett Newman: ““We actually began . . We actually began . . . from scratch, as if painting were not . from scratch, as if painting were not only dead but had never existed.only dead but had never existed.”” Baselitz on the artistBaselitz on the artist’’s social role s social role (none). Contrast Kandinsky (artist as (none). Contrast Kandinsky (artist as visionary prophet)visionary prophet)

The paradox of freedomThe paradox of freedom

Freedom requires rules and restrictions Freedom requires rules and restrictions in order to exist. To put it another way, in order to exist. To put it another way, society needs virtues in order to exist, society needs virtues in order to exist, and itand it’’s not up to me what those virtues s not up to me what those virtues are. (E.g., integrity, courage, etc.) are. (E.g., integrity, courage, etc.) PracticesPractices require virtues, and arts are require virtues, and arts are practices. Too much freedom destroys practices. Too much freedom destroys virtues.virtues.

Modernity promotes as virtues what Modernity promotes as virtues what were formerly vices (e.g., greed).were formerly vices (e.g., greed).

Another failure of Another failure of modernism:modernism:

surrendering to surrendering to bureaucratic powerbureaucratic power Art, for example, once it has abandoned Art, for example, once it has abandoned

any governing traditions, is ripe for any governing traditions, is ripe for manipulation by the forces of market manipulation by the forces of market capitalism.capitalism.

Question: compare this thought with Question: compare this thought with ShinerShiner’’s historical argument that the s historical argument that the existence of fine art is due in significant existence of fine art is due in significant part to the development of an art part to the development of an art market among the new middle class in market among the new middle class in the 18the 18thth century. century.

Is there any hope for art?Is there any hope for art?(melodramatic music builds (melodramatic music builds

in background)in background)

(drumroll) Joseph Beuys! Anselm Kiefer!(drumroll) Joseph Beuys! Anselm Kiefer! Gablik: these two artists are filled with Gablik: these two artists are filled with

vision and a sense of transcendence, vision and a sense of transcendence, positively related to society. positively related to society.

Think about their work, and that of Think about their work, and that of others you know about. Is there such a others you know about. Is there such a thing as post-modern art? Is it a hopeful thing as post-modern art? Is it a hopeful art? Does it make sense to think of the art? Does it make sense to think of the artist as a shaman?artist as a shaman?

How can art go forward?How can art go forward?

We need traditions, but we canWe need traditions, but we can’’t just t just ““reimpose traditional forms of reimpose traditional forms of authority.authority.””

Gablik seems to suggest that we as Gablik seems to suggest that we as individuals must find our way individuals must find our way forward to new traditions, resisting forward to new traditions, resisting the pressures to reduce all values to the pressures to reduce all values to money. Can we do that? And what money. Can we do that? And what role may art play in the process?role may art play in the process?

So has modernism So has modernism failed?failed?

Gablik does not answer the question. Gablik does not answer the question. She appears to think that we are not She appears to think that we are not ready to answer it, because at this stage ready to answer it, because at this stage in our history (and partly as a result of in our history (and partly as a result of modernism) we no longer know what modernism) we no longer know what success and failure are. success and failure are.

What sort of transformation can we What sort of transformation can we accomplish? Presumably, if we can build accomplish? Presumably, if we can build something better, and if modernism has something better, and if modernism has prepared the ground, it may after all prepared the ground, it may after all have succeeded. have succeeded.

PostmodernismPostmodernism

Gablik mentions postmodernism, but Gablik mentions postmodernism, but does not define it. Perhaps it should does not define it. Perhaps it should not be defined. Perhaps it is just a not be defined. Perhaps it is just a way of saying, way of saying, ““Modernism is over, Modernism is over, but we canbut we can’’t tell yet what is taking t tell yet what is taking its place.its place.””

However, J-F. Lyotard (Ross, pp. However, J-F. Lyotard (Ross, pp. 561-564) has attempted a definition.561-564) has attempted a definition.

Lyotard on Lyotard on postmodernismpostmodernism

Lyotard defines Lyotard defines modernismmodernism as the as the attempt to make visible (or audible) attempt to make visible (or audible) presentations of the unpresentable. presentations of the unpresentable. This is the category of This is the category of ““the sublimethe sublime””, , that which goes beyond our experience that which goes beyond our experience and imagination, yet is conceivable, the and imagination, yet is conceivable, the transcendent. transcendent.

Thus, Lyotard has more positive things Thus, Lyotard has more positive things to say than Gablik about modernism. to say than Gablik about modernism. See Kandinsky, and the catalog for See Kandinsky, and the catalog for The The Spiritual in ArtSpiritual in Art..

Lyotard on postmodernism Lyotard on postmodernism (cont.)(cont.)

The post-modern is part of the modern. The post-modern is part of the modern. But instead of nostalgia for the simpler But instead of nostalgia for the simpler past, it declares past, it declares ““war on totalitywar on totality””. I.e., . I.e., there is not just one way to do things, there is not just one way to do things, one way to make art, one truth. So it is one way to make art, one truth. So it is even more anti-traditional than straight-even more anti-traditional than straight-ahead modernism. Lyotard thinks it is ahead modernism. Lyotard thinks it is necessary; nostalgia is dangerous. necessary; nostalgia is dangerous. TotalityTotality is dangerous; it brings terror is dangerous; it brings terror (totalitarianism).(totalitarianism).

Further thoughts on the Further thoughts on the post-modernpost-modern

A plurality of traditions, interests and A plurality of traditions, interests and values is assumed. None is preferred values is assumed. None is preferred over others nor reduced to others. over others nor reduced to others. Dialog and negotiation take the place of Dialog and negotiation take the place of integration and assimilation. (Progress, integration and assimilation. (Progress, a chief characteristic of modernism, a chief characteristic of modernism, becomes a problematic category within becomes a problematic category within post-modernism.) post-modernism.)

The past is not rejected, but is mined for The past is not rejected, but is mined for what it can offer, often in a spirit of what it can offer, often in a spirit of whimsy and humor. whimsy and humor.

Further thoughts on the Further thoughts on the post-modernpost-modern

Our relation to the natural world is re-Our relation to the natural world is re-envisioned. Sustainable life in envisioned. Sustainable life in harmony with nature, rather than harmony with nature, rather than conquest of nature, becomes the ideal.conquest of nature, becomes the ideal.

In keeping with these trends, the arts In keeping with these trends, the arts are multicultural, often playful, are multicultural, often playful, traditionally conscious (but on a pick-traditionally conscious (but on a pick-and-choose basis), environmentally and-choose basis), environmentally aware and seeking harmony with aware and seeking harmony with nature. nature.

PostmodernismPostmodernism

Modernism is over. The idea that Modernism is over. The idea that there must be one set of values, one there must be one set of values, one way to make art, or one superior way to make art, or one superior culture is rejected. culture is rejected.

SummarySummary Four visions of western art history since the Four visions of western art history since the

Renaissance:Renaissance:1.1. Shiner: Shiner: a great divide between crafts and fine art in a great divide between crafts and fine art in

the 18the 18thth century. Consequence: art divorced from life, century. Consequence: art divorced from life, crafts minimized, distorted view of arts in other crafts minimized, distorted view of arts in other cultures. Maybe a 3cultures. Maybe a 3rdrd system of arts is coming. system of arts is coming.

2.2. Hegel:Hegel: art seeks to express the transcendent in the art seeks to express the transcendent in the physical, finally comes to an end in favor of philosophy.physical, finally comes to an end in favor of philosophy.

3.3. Danto:Danto: art seeks its own essence: art history ends art seeks its own essence: art history ends once art puts the proper question to philosophy (i.e., once art puts the proper question to philosophy (i.e., what makes something art if it looks just like a piece of what makes something art if it looks just like a piece of non-art?)non-art?)

4.4. Gablik:Gablik: modernism overthrew tradition, we must modernism overthrew tradition, we must recover it if art is to survive.recover it if art is to survive.

Discussion QuestionDiscussion Question

Does any of these views seem right Does any of these views seem right to you in any way?to you in any way?

Thinking about them, looking at art Thinking about them, looking at art history and at present art, where are history and at present art, where are we, and where are we headed?we, and where are we headed?