Abstract
Why is it that even ‘anti-artists’ turn out to be ‘art-lovers’? This chapter explores the sacred beliefs about art/culture than even philistines seem to hold onto some degree. Starting with a brief examination of how art/culture is perceived to be a fact of human nature, and thus beyond political critique, the focus moves to the three core affirmative qualities that are almost universally held truths about art/culture. The first is that art/culture fundamentally challenges social conventions; a consensus that exists across the political spectrum whether it is conceived as a maximalist force for revolution or merely a means to stimulate healthy debate. The second article of faith is that art/culture represents the acme of emotional experience. The third catechism is that, as a form of the sacred, art/culture is antithetical to commodification, even if that means ignoring artworld commercialism or viewing it as an external imposition.
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Notes
- 1.
Though in the last chapter I noted Freud’s iconoclastic disregard for the materiality of artworks he was still wont to evoke ‘the poets’ as part of the founding lineage of psychoanalysis, providing authority to his claims about human subjectivity where science could not (Carroll 1987, 146). Even from within Marxism there is a critique of Marxist hostility to art/culture. In trying to make his own position of ‘radical aesthetics’, John Roberts (2000, 25) claims that on the Left ‘there remains an unfailing distrust of art’s disaffirmative complexities and critical identity under the conditions of late capitalism.’ These representatives of ‘the Left’ are Frederic Jameson , Eric Hobsbawm and Perry Anderson—all old, or now dead, New Left ‘cultural Marxists’, hardly ‘the Left’ nor iconoclasts by any stretch of the imagination. At best they merely bemoan how much more radical their avant-garde was compared to now. In truth there is plenty of ‘the Left’ willing to join with Roberts and celebrate the ‘disaffirmative complexities’ and more of art/culture.
- 2.
This included the curatorship of a 1990 show in the Louvre and a textual accompaniment to a 1985 photographic exhibition. Derrida disingenuously tried to distance himself from ‘art scholarship’ by writing elliptical accompanying texts (Jay 1993, 518–22), even though it was precisely because of his radical aura of ‘undecidability’ that administrators hired Derrida in the first place.
- 3.
Though theorists like Foucault and Derrida often adopted a modest or amused detachment to the way they were idolised as celebrities they did little to substantively counter the image; ‘What is an Author?’ quite clearly has an author (Foucault 1984: 101). It was this quasi-artist status that allowed Derrida to curate a Louvre exhibition and Baudrillard to show his photographic work to artworld cognoscenti (Lotringer 2005, 16).
- 4.
Unlike practically every subsequent invocation of the sublime, Kant never linked it to art/culture. For Kant ([1790] 1987, 261) the sublime experience was when the human subject faced the seemingly insurmountable power of nature, represented in a mountainous peak or violent storm, and overcame their awe, thus strengthening the integrity of their rational subjectivity.
- 5.
The Romantic philosopher Friedrich Schelling ([1856] 1978, 229), in critiquing Kant’s dualism between the noumenal and the phenomenal, claimed that fine art resolves the dilemma of subjective/objective polarity, as it is through the ‘universally acknowledged and altogether incontestable objectivity’ of fine art that intellectual intuition develops to become ‘objective’ aesthetic intuition.
- 6.
The purported authors of Systematic Programme, Hegel, Hölderlin and Schelling, met in the Protestant seminary of Türbingen University and, while they were inspired by Enlightenment reason, as filtered through Kant, they were also part of the radical Reformation Christian tradition as represented by philosophers like Spinoza (Beiser 1992, 222; 1996, xxi).
- 7.
As noted in the Introduction, the emergence of fine machinery that could replicate the delicate design work of handcrafted objects, as in Wedgwood china, created a crisis for humanism that necessitated the isolation of fine art as defined by beauty rather than skill in order to maintain the distinction between Humanity and Machinery.
- 8.
Though it is the ideology behind the prediction rather than its veracity that is important it is worth noting how erroneous this prediction has become. While digital reproduction certainly upset the existing record industry, leading to a rationalisation of companies and a reduction in CD album sales, with the assistance of brutal legal attacks on illegal downloading it has also lead to new commercial opportunities with digital platform providers like Apple and Amazon raking in huge profits (Scherzinger 2005; Forde 2004; Waldfogel 2012).
- 9.
The pleasure one feels before the beauty of fine art
must of necessity rest on the same conditions in everyone, because they are subjective conditions for the possibility of cognition as such, and because the proportion between these cognitive powers that is required for taste is also required, for the sound and common understanding that we may presuppose in everyone. (Kant [1790] 1987, 159)
The notion of an ‘inter-subjective’ overlap between the particular of the subjective and the universal of the objective to allow social interaction makes sense. But this does not mean that every subjective experience is universal, especially when it comes to the obvious variety in personal experiences of beauty. Kant simply assumes an ideal subject who, by the refinement of his (because the ideal subject here is male) tastes, naturally smoothes out the rough diversity of unrefined judgment. All of this, Kant claims, is done without the imposition of rigid rational concepts, so voilà, you have universality without rules.
- 10.
David Lowenthal (1989, 70) notes how wealthy property owners benefit financially from decisions to preserve certain buildings as cultural heritage, though this would not be sustainable without government grants and tax benefits. Interestingly Lowenthal’s own critique of the ‘cult of preservation’ is premised on a belief in art/culture as essentially an ‘immaterial witness’ to the achievements of humanity (ibid., 76). So, once again, the commodified materiality of art/culture is nullified.
- 11.
Eagleton is using a broader concept of ‘aesthetics’ rather than just the study of fine and art and beauty, but it is still one where fine art is an exemplar of aesthetic sensual cognition (see Dee 2012, 298 and 301) along with all the other stale humanist qualities of truth and beauty that Eagleton resurrects against ‘ideological purity’.
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Dee, L. (2018). Artistic License: The Catechisms of Art/Culture. In: Against Art and Culture. Palgrave Macmillan, Singapore. https://doi.org/10.1007/978-981-10-7092-1_3
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