UPDATE: I feel that our current political and cultural climate requires us to carefully consider our future as artists. With the President-Elect taking time off from the transition process to chastise the audience at last night's performance of "Hamiltion" for boo-ing the Vice-President-Elect, we know we're in for a rough 4 years - hopefully he'll only be in power that long.
In making a selection "From The Archives," I found my former theory student Arash Mokhtar's piece from April 2007. Arash is still in Brooklyn, still writing and working in film, I believe, and his take on art, power and history deserves a second read. Let us move forward with trepidation but a courageous will.
Administrator’s note: Arash Mokhtar lives and works in New York City, maintaining a studio in Brooklyn where he works on his paintings, photography, collage and sculpture, continually entertaining studio visits to court gallery representation. He also writes, and his essays and reviews are considered and occasionally published online at ArtCritical. Professionally, Arash transitioned from the decorative and scenic art world to the independent film industry in New York, working as Assistant Director, Art Director and Production Designer on productions, features and shorts. He is currently working on a feature screenplay and adapting a Mark Twain essay into a short film.
His essay, “The Future,” represents a recently graduated fine artist’s view of contemporary art’s possibilities. While maintaining an incendiary and distinctively critical tone, his inquiry ranges from the art market’s “power” structure to the scourge of “relativism,” finally yielding to the dialectics of historicity. I am particularly impressed with Arash’s mind and his writing abilities, and I publish this piece because I feel it is essential reading for art students and practicing artists.
“Endurance is more important than truth.”
It is the first day of spring. For some ancient cultures it is New Year’s Day, the vernal equinox. Our American culture is facing off against other nations in an increasingly troubled era. Our limited resources undermine our expansionist tendencies. Art today reflects our limits.
Like U.S. politics, art culture has taken many missteps in the recent past. Relative to its place among the rest of society, the “art world” in America, that is to say, galleries, museums, so-called collectors, board of directors of fine (read High) art along with many well-established “emerging” artists are in a state of crisis, or perhaps more importantly, the work is. Not an impending doom like a horrible natural disaster coming in off the horizon, but more like a catastrophe brought about by a toxic mix of insouciance and greed.
Art, as a concept and a practice, possesses power. Many of the conflicts our nation seems involved in, and many of its scandals, are about this power, the power to represent. (The Middle East has been in a conflict to represent itself, unmediated by imperialists, colonialists, and “free-market” capitalists for nearly a century…) People’s minds can be affected, perceptions altered, lives and histories changed. The power to affect, to cause an effect, is an increasingly unpopular notion among the upper classes of art world insiders. (In the interests of full disclosure, I myself was at one point an art school rat and have been graced with the academy of High versus Low and exposed to the doctrines of post-art’s relativisms and theory.) Artists and dealers, academics and gallerists, enthusiasts and collectors, are all in a state of market-driven appeasement. The roster of endless art fairs circling the globe rather seamlessly testifies to this. Who is feeding this market? Who is driving it? What is the product? Has art, or what we’ve come to regard, and reward, as art become simply another negotiating tool? A product whose mutability can suggest an infinite market of goods that ride the guise of creative liberties? After all, who can really say what is art and what is not? What has quality and what does not? Can a judgment really be made?
This mish-mashed understanding of relativism has bred not only unimaginative imitators who find no need to endeavor to invent (and don’t believe in the concept altogether) and a cynical marketplace unwilling to seek out freshness and vitality in its young art. Of course, these traits can be imitated, much like the co-optation of underground and once transgressive subcultures throughout the U.S. as evidenced in stores, clothes, magazines, sports, and movies…ad infinitum. It almost seems like the human compulsion for rebellion, especially adolescent rebellion has been replaced by the deep desire for conformity and success. Art, as seen in commercial galleries and fairs, is fronting the cynical machinations of the desire and envy industry, most notably Fashion. Art is no longer in a relationship with fashion, it has become it, stripping away any real power it has. Possessive appeal usurps meaning. It no longer represents, it duplicates. The broadest possible appeal has brought with it the most irresponsible kind of neglect. The marketplace has infiltrated the studio, and worse, the creative imagination. Is there even an ongoing discussion in the intelligentsia, through magazines, newspaper articles, online forums, schools, etc. or is there only a whole lot of self-congratulatory validation going on? One senses that criticism has ceased to exist outside of the minutiae of what was created when and by whom and exhibited where; a veritable celebrity digest of who’s who in art now. How many artists compete for a chance to have a place in a true cultural dialogue, rather than a spot in the so-called “canon” as exemplified and disseminated throughout the market? How many works are made heavily tempered with a learned careerism that dismisses originality, struggle, failure and accomplishment as outmoded human qualities that belong only to Greenbergian notions of art? Works are made pre-conscious of their place in the bazaar. This is not a marketplace of ideas. It has degenerated into a self-actualized boast, a grandstand of privilege. There are now many easy prisons of thought seeking to restrict any art that attempts to provide something that could be called experience.
American art is moving through a state of crisis and denial, a deluge of newly minted art and artists of the anti-ecstatic. Real connection and parallels have been replaced by isolated gestures. A sense of proportion, or scale, is lost, in terms of where one’s work fits in any historical context. The idea of history itself is dismissed as mass appeal has replaced individual curiosity. This is the dictum of marketing. Art can, and should be, more. Young artists in the States seem to be embarrassed and repelled by honest exchange. The work masks emotional response with a superabundance of stylistic metaphors and cliché colloquialisms expressing ennui. Art is ideas and can provide truly unique and independent experiences for people. This, in fact, can be a responsibility of art, if artists choose so. This is not a precept of artmaking, or necessary condition, as any cursory glance at the history of art would easily demonstrate. Anything goes, obviously. There should, however, be more than lazy intellectualism and regurgitated theory; stylistic meanderings of the comfort class. Outside of a handful of artists, art seems so safe, an easy commodity that doesn't dare disturb the ether of sales, but only postures and poses in neo-punk platitudes and stylings.
This is a crisis that comes in the form of willful neglect. We live in a time of global connectivity, radical change and superb action. Being disconnected from change and relying on heavy-handed imitations with total disregard for invention and investigation should be detestable, not readily rewarded. Too much that passes for Art today avoids connections that could provide experience. It dabbles in fashion-driven marketing practices. It has been recruited and reprogrammed to drive the engines of mass culture: to forget history, deny experience, and forego relationships. These things can be messy, awkward, “uncool” and discomforting, much like our troubled times. But art in America today reflects little to none of this. It relies highly on distorted capitalist notions of success--fame and fiduciary evidence being the proving factors. Connections to history are crudely drawn in afterthoughts only to prop up the artist’s myth and to provide depth to otherwise vapid art. It has become a race to the bottom. Forget history. Broadest possible appeal. Lowest common denominator. Is this the future of American art? Is everyone really so tired that they feel actually “feeling” something is too much effort (and much too embarrassing)? Our culture, our collective American consciousness, is at a low point. Artists seem afraid, uninterested and not up to the challenge. They should attempt something more but don’t. Why should they compose work when an isolated and meaningless gesture will do? Why should they develop if imitation is enough? Race to the bottom…when we reach it, I hope some of us will continue to possess the desire, and energy, to find our way back up.