Beauty and the Best: A Call to Arms

You probably already seen this link, you just don’t recognize it yet. I’ve seen it twice in blogs today, and I read it myself yesterday. Entitled Beauty and the Best by Theodore Dalrymple in the New English Review, it hashes up much pertinent and heady classic art debate in order to “understand how and why this terrible shallowness has triumphed so completely almost everywhere in the west” that contemporary art is incapable of serious, informed and moving art.

One is almost tempted to call him atavistic, or say his ideas are charming in an grandfatherly sort of way. Unless, of course, you’ve ever wanted more from your art than Damien Hirst could give you or you were ever struck by the craftsmanship of a statue by Bernini or some other forgotten barbarian. If that is the case, you will enjoy the spirit of Dalrymple’s argument immensely.

City Aesthetics: New York

My window looks onto a grey stuccoed plane rising until out of sight, punctuated by windows with air conditioning units. I can’t see the sun. The sun, when I’m on the street, if often curtained off by the buildings rising on either side of me. Grey is prominent in the city, mostly because of the grime and asphalt. Light comes down in shafts, as if even the sun had been mastered by the skyscrapers.

Apartments with exposed brick walls are cool because they have the unfinished look of factories. Lofts, the epitome of cool, are bare, industrial spaces. The Domino sugar factory, whose eponymous sign has lighted the way across the Williamsburg bridge for decades, is being transformed into luxury condos.

My colleague was showing me pictures of my street from 1910, and the view of the Manhattan bridge hasn’t changed all that much. Neither had the exteriors of the buildings, or, in the case of my building, the interior. But the gaps have all been filled in, and streets paved, highways built, and horses replaced with cabs. And people, more people, everywhere.

Divided by tall buildings, you keep your gaze on street level, where you find people and cars coming at you from all angles. You pick your way around litter. Food cart smells, advertisements and lights everywhere, and general hustles as city-dwellers attempt to get where they’re going with the least amount of fuss. A walk in midtown during rush hour is a journey. And visitors wonder why New Yorkers look mean: they have to focus. Even on quieter streets of brownstones, you know you are in a city by the honking an avenue away and the hobo on the corner.

Sometimes my sense are overwhelmed and my heart starts beating faster and I realize that I hate Manhattan.

But other times, like last night when I was biking over to the New Museum, it seemed like I was the king of the playground, and I felt empowered by the lights of the Empire State building rising ahead, and the cars at my side, and the people crossing the street. Those people and I were all the living parts of Manhattan who make our lives here. Instead of feeling acutely aware of my sense, I subsumed the city into my consciousness and become one with it.

The great thing about making your life in this complex and huge hive of activity is that there’s always a new corner to turn down, a street you’ve somehow never noticed, and the same goes for the people, so many of whom you’ll never meet, and the possible experiences, so many of which you’ll never have. But you could. Manhattan is a world of visible possibilities.

Everything you’ve always dreamed of, from glamorous dining to gorgeous apartments to some gorgeous other person, is here on the streets of Manhattan. Shop windows twinkle with more than you ever dreamed of having. Ambition and the city go hand in hand. The best of the best flock here. And then you’re here too. You look at the streets, and find a direct challenge to succeed.

Walls and Streets of Art, Relationally-speaking

That imperious-sounding term ‘relational aesthetics’ might have been first introduced to me at theanyspacewhatever exhibition at the Guggenheim, as I reviewed here, but like so many things one jives with, I’ve started to find it everywhere. It’s not exactly that the exhibition so sensitized me to my surroundings that every piece of litter on New York’s streets makes me want to sing hallelujahs, although relational aesthetics does strive for that effect. Rather, I see in work I have already been following the same aesthetic tools of surprise, fun, ephemerality, untraditional medium, and irreverence, and fueling their creation the hopeful belief that the experience of life is beautiful.

The Wooster Collective, whose blog I follow, is “dedicated to showcasing and celebrating ephemeral art placed on streets” thus taking relational aesthetics one step further than using the exhibition as a medium, as street art creates a medium out of bare concrete and brick. The art it showcases is submitted from all over, so like the Guggenheim’s group show it is an egalitarian effort, and shows the range of diversity, from a bum’s hut in Poland to this Election Day poster.

Had they been punnier, they would have said “Chews with your gum,” but not everybody can be as clever as me.

Street art fits into the category of relational aesthetics. An article on the founders of Wooster Collective from 2006 discusses the tenants of street art much line relational aesthetics:

1. Location…A work of street art reclaims the public space and the best street art has a context, builds a relationship with its environment, dialogs with the city…
2. Surprise and delight: the works tap into our emotions and we get that WTF ??? moment…
3. Have something to say…the best pieces do not necessarily make a strong political statement but they will make you see the city under a different light. Artists let
passersby make their own interpretation of the work…

‘Relational aesthetics’, then, is a way of taking art out of frames and putting it in different, often surprising, relations to the viewer, and how it affects one’s perception of the object, which is not necessarily an object but a wall or hole that makes you reevaluate your surroundings. The blog form is suited to street art; it constantly changes rather than being fixed, is fragmentary rather than whole, and both mediums originated outside mainstream channels of expression and are becoming more recognized.

Another blog I follow, Art is Everywhere, tries to document the beauty of everyday objects by taking things apart, rearranging them, and photographing them for the web. It tries to resensitize people to their surroundings, and thus to the beauty and charm of life. As it’s states:

Observing the surrounds from different points of view can change the perception
of the reality. Among the endless possible points of view, we can find the one
more near to the beauty: that is to make art. Why should everybody make art? To
seek for the beautiful in the daily things it undoubtedly helps us to…live
better.

And that’s a lovely sentiment to be surprised with, in anyspace anywhere.