I went back to the State Art Gallery today. I had to see this painting again, ‘The American Dream’ by Brett Whiteley. There was something written on it which was driving me mad so I absolutely had to find out who said it. It was a quote, you see. Now that I’ve seen it again, this is what I think it says:
If we give art a moral aim it ceases to be art because it is no longer useless… Art is always unintelligible to the crowd because it [the crowd] is not disinterested + knows only purpose.
E+J de Goncourt
‘The American Dream’ is a mural-type painting twenty metres long and covered in pictures of Bob Dylan, stuffed birds and other junk. It even has a big red flashing light, but it’s still pretty crap. It’s a juvenile and melodramatic take on 60’s nuclear paranoia. De Goncourt (whoever that is), however, has a good idea.
1st level: he/she/it wants to protect art from stupid critics and bad artists. The fear is that art will become part of someone’s agenda, trivialised and vulgarised. Art is above politics and moralising. In this sense, de Goncourt is a puritan of art - a kind of formalist (the value of art lies in the relationships between the internal parts of the work; symmetry, harmony, dissonance.)
2nd level: It wants freedom. The crowd knows only purpose; everything has to have a place and a use or it’s not worthwhile. Everything is a means to an end - survival, reproduction, simple joy, money. BUT: art cannot be stuck in the realm of the merely useful. There is no freedom there, where everything that exists has an assigned, essential function. Art must be elevated beyond everyday life into a realm of decadence, of freedom from necessity.
(This elevation, strangely enough, is what some philosophers did with morality at the same time.)
3rd level: Nihilism in purpose.
Why are works of art worthwhile?
Because they teach us to see the world through another’s eyes.
Why is that a good thing?
Because we understand things we might not have understood otherwise.
What good is knowledge?
So you can live a long and happy life.
Why do I want a long and happy life?
…Isn’t that what everybody wants?
But why?
If you ask for the purpose of everything, life will soon seem cold and bare. It wants freedom from the vicious circle of asking why, so it can enjoy what exists for what it is. Nietzsche and Arendt understood this.
I think, though, that the argument against purpose works on questions like ‘what is the purpose of art?’ (‘there is no answer’), but doesn’t necessarily work on questions like ‘what did you mean by this painting?’. As long as our aims are not unified, I don’t see why aim itself should be problematic. In fact, if I have my art history right, it could be argued that strict formalism is far more unifying/nihlistic/untenable than the position outlined above. It - de Goncourt - can be read up to this point as defending the worldliness of art and the plasticity of the concept against aesthetic generalisations.
This has been an excerpt from a slightly longer train of thought.