Advertisements

The End of Modernism

The death of Tom Wolfe reminded me that amongst his many publication Wolfe wrote a short book about modern art, The Painted Word. The blurb on the book’s cover sums it up. “Another blast at the phonies! – The author of the The Electric Kool-Aid Acid Test exposes the myths and men of modern art.” In the end Wolfe’s predictions about the future of art were wrong; modernism did not have a hard landing and the art critics are not more famous than the artists.

fullsizeoutput_16fc

Modernism was over by the time that The Painted Word was published in 1975. Modernism was not a fad, it was not a fantasy that was sold to the world by con artists or imposed on it by dictators. Rather it was a reasoned, articulated theory supported by empirical evidence. This doesn’t mean that it was right only that the conservatives own position of royalism, nationalism and tradition was less reasoned, articulated and supported by evidence.

Wolfe’s, and other conservatives, aversion to the ‘theoretical’, the “word” in his “painted word” is a conservative reaction to any explanation other than his own (and I use the masculine pronoun here deliberately). They assume, that ideas and words spring straight from the world into their mind and concocted ‘theories’ are corrupting influences on this allegedly natural state. In this way the ‘theoretical’ could spoil your enjoyment of art or life as if theories are like a vampiric thoughts sucking the joy out of living through understanding.

Ironically (and irony is his middle name) the great debunking of modern art had already been done by Marcel Duchamp. However, the vitriol that the conservatives have for Duchamp blinds them to this and, because Duchamp’s attacks were a kind-of pre-post-modern deconstruction of modern art, rather than by defending traditional values. It was Duchamp’s critique, rather than the conservatives, that laid the grounds for the end of modernism.

However, instead of a total collapse of modernism, as the idealism drained from the market modernism had a soft landing. This was facilitated by changes in the technology that allowed greater growth in popular culture: television, portable music technology, internet, etc. Music on demand used to be the high point of culture available only to the very rich; now everyone has the ability to listen to music or watch videos any time and anywhere and private tastes can be developed without the approval of friends or family multiplying the market for the arts.

This meant that the domination of the state art institutions and funding by ideological forces during the later part of the Cold War was rapidly and successfully short circuited by artists who reached a mass audience through popular media. The popular arts provided an economic way to bypass the moribund system of academic/institutional arts grants until the academic/institutions adapted to the post-modern world.

The idea of an ideological domination of post-modern thinking is an absurd misunderstanding of a decentralised non-hierarchical system. Few of the leading contemporary artists paint and most of them use aerosol paint cans. Tom Wolfe is dead but his attitude that modern art is a con is still an article of faith amongst many conservatives.

Advertisements

About Mark Holsworth

Writer, independent researcher and artist, Mark Holsworth is the author of the book Sculptures of Melbourne. View all posts by Mark Holsworth

What are your thoughts?

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: