Senior 44: Art, Oscar Wilde
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By the way, I made it back safely from the Pacific University Undergraduate Philosophy Conference. I had a wonderful time and met some remarkable people. I'll write more about that in the future.
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Now turning to art:
Oscar Wilde fascinates and terrifies me. For my Victorian Literature class, I read his Preface to "Dorian Gray" along with an interview and transcripts from his court trial. The man was brilliant. He understood his times better than most and refused to acknowledge or conform to its modes of understanding--and for that he is terrifying.
In the first chapter of "Literary Theory," Marxist critic Terry Eagleton lays out a history of literature. Of course, one must be careful when an author's worldview is so evidently at the forefront of his writing (one must also be careful when it's hidden in the background), but much of what he said made good sense. What I especially appreciate is his treatment of the development of literature-as-art into its modern form.
Wilde, it seems, stands on a monumental turning point in the history of literature and art. He is famous for saying things like, "There is no such thing as a moral or an immoral book," an idea that was contrary to the accepted opinion of his times. But it makes sense if you look at literature and art in the way that he sought to look at them.
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So in this reflection, I divide history into two halves. (Such a division can approximate truth in only the loosest sense, but it will be a useful distinction, I think. Moreover, my use of Wilde as representative of the shift is only convenient; I do not mean to imply that he was singly responsible by any means.) Prior to the era of Wilde (and his associates) art and literature was tied inextricably to culture and society. Music was part of religious rituals; songs communicated mythology; dance was part of worship; pictures were another way of preserving values and beliefs; and stories served very specific didatic and educational purposes.
The example of the visual arts is especially useful for highlighting these pertinent aspects. Masks represented or embodied deities and historical figures. Wall-paintings recorded history. Figures and images on pottery and household items also reflected shared identity. Sculptures and idols were objects of worship and veneration. Catacomb paintings, frescoes, and stained glass communicated important religious stories to the illiterate. Decorations and embellishments were indicative of wealth or social status. Even when art became more individual (e.g. in the Renaissance), it still served very particular purposes. It represented an individual's story and eminence as opposed to a group's or society's.
Consider the criticism that is sometimes leveled against displaying or viewing "art" pieces from native American, aboriginal, or other tribal peoples: these "artifacts" were intended to be used in ceremonies and rituals; to view them behind glass, or as just oddities to look at, somehow does violence to them and their purpose. Implicit in this criticism is a recognition of the close relationship between the "art" of these peoples and their culture, religion, values, etc.
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Now consider the radical shift that has taken place and the way we treat art in the modern world. We construct huge buildings with lots of blank walls in order to hang pictures in as austere and sterile an environment as possible. A conscious effort has been made, it seems, to divorce art from culture. No longer is the culture considered, or even the patron, or even the viewer, but only the artist.
In Wilde's interviews, he constantly and carefully draws the distinction between the "beauty" of an art piece and the "morality" of an art piece; he categorically refuses to comment on the latter. In his court trial, it is manifestly evident that the prosecuting attorney does not understand where Wilde is coming from; as it is manifestly evident that Wilde understands the attorney's views better than he does, and rejects them.
But what does it mean to remove art from culture? Suddenly, the vocabulary of the culture becomes completely useless and ineffectual for describing it, evaluating it, or speaking about it. One must invent a whole new vocabulary for evaluating "art" without reference to anything but art. Is that possible?
(Another clarification: museum art is not, properly speaking, devoid of culture. It just is a culture in which art pieces are hung on blank walls in big buildings. But notice how far removed that is from the day-to-day life of the people. That is the issue I am concerned with and what I mean that art has been divorced from culture.)
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Two questions emerge from these considerations. Firstly, is art really ever divorced from the larger cultural, historical, and social contexts? And secondly, should it be.
(1) Have you ever been in an art gallery and just been thoroughly confused? Have you ever looked at "great art" and thought it looked like a pile of junk? Have you ever seen a pile of junk displayed as art? Wilde asserts that art is for the artist alone. Whatever another person may see in or get out of an art piece reflects him or her and never the artist or the art piece. Do you see that trend in contemporary art?
Consider the connection between classical art music composers and composers in the post-modern era. There seems to be almost nothing in common between them. "But," the aesthete may reply, "are you evaluating them in terms of your own culture or on the proper criteria of 'art.'" But what standard could one hope to construct for judging them alongside one another?
We are constantly compelled, it seems, to "appreciate" art that we can't understand. We can't understand it because it has nothing to do with either us or our culture. If we could understand it then it wouldn't be art. So we are forced to "appreciate" it on the authority of individuals who are qualified to judge art on its own merits, without bias. But is that even possible? Who can really separate themselves so completely--step out of themselves so thoroughly as to judge art by an inhuman standard? Who can create art that has no connection to culture or history. I don't think anyone can; and so we continue to find meaning in work and criticize it or praise it according to our interpretation, while the artists and critics jump up and down in the background, angrily declaiming our naive philistinism.
(2) Of course, just because we can't seem to reach this "ideal," is that any reason to stop pursuing it? We don't seem to be able to attain moral perfection or perfect rationality, but is that any reason to stop trying? On the other hand, it is not the pure unattainability of a thing that makes it worth pursuing. What then are we pursuing? One possible answer is this: we are pursuing the fullness of human and personal perfection. I wrote in my last blog about how human beings find themselves in tension; there is a constant pull and draw toward animality that we must constantly fight against. In a very real sense, as we are, we are not fully human and must strive toward maturity and perfection. The pursuit of moral and rational perfection are part of this. Only a truly good person and rational person is fully human. (And by the way, for those who might be worried, perfect rationality does not come at the expense of emotion or personability.)
But where does art come into this. Is it constructive to this perfect human end that art be divorced completely from our humanity, in all its personal and social character? I think not. Divorcing art from humanity might be appropriate for a non-human, but its not a reasonable goal for the human artist. Trying to become other than human is, perhaps, one of the silliest things a person can do. (It would be laughable if not so seriously detrimental.
The perfected human will express him or herself creatively and artistically; I think that there is no doubt about this point. Let us, therefore, take seriously this pursuit, pour ourselves into it, strive after it with all gusto and vigor; but do not make it an idol. Do not confuse what is a part for the whole and thereby destroy what is truly good when found in its proper context.
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Some will think that my view of art is extremely narrow. Let me point out that the above material does not represent my fully-formed opinions. Among other things, I would need to get actual historical evidence to support my various conjectures. At this point, conjecture and musing is all this is.
But let me suggest that it is appropriate to accept certain limits on our abilities and aspirations. We like to talk as if we can achieve or do anything, but that simply is not the case. And if my saying that a person cannot be a squirrel or a brussels sprout or other than human is to limit and oppress him, I say that I cannot, in good conscience, do other than just that.
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Many thanks to the faithful readers who actually read through my various thoughts.
Blessings all,
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God is in this place,
And that reality, seen and understood by the grace of God in Christ Jesus through the work of the Holy Spirit, makes all the difference in the world.