Malcolm Millais, author of Exploding the Myths of Modern Architecture and an upcoming book correcting the record on Le Corbusier, sent me a video of an artist, Robert Florczak, at Prager University, explaining the erosion of standards in the art world over the past century. Little of “Why is Modern Art So Bad?” was new to me but it was expressed with such force and clarity, and raises such obvious, if unstated, parallels with the world of architecture, that I could not resist putting it up on my blog. In the end, Florczak reveals that the white background of the sound studio he was in was not that at all, but a painting by Robert Rauschenberg. Better still was his assignment for students to analyze a Jackson Pollack painting. Priceless!
Search this site
-
Recent Posts
-
Join 7,053 other subscribers
Recent Comments
LazyReader on Architecture of community Anonymous on Architecture of community Anonymous on Radiant Garden City Beaut… Anonymous on Radiant Garden City Beaut… Anonymous on Radiant Garden City Beaut… Anonymous on Radiant Garden City Beaut… Anonymous on Rebuild Key Bridge as it … Anonymous on Radiant Garden City Beaut… Blog Stats
- 1,000,232 hits
Blog Categories
Blogs I Follow
- Providence Meanderings
- Frozen Music
- Classic Planning Institute Blog
- Beatrix Koch Books
- Hyperallergic
- Andrew Cusack
- Future Symphony Institute
- TradArch
- misfits' architecture
- BLDGBLOG
- leanurbanismtools
- Untapped Cities
- Old Portuguese Stuff
- Mental Floss
- Real Finishes
- A Brief History of Music
- A.D. Martin
- Kuriositas
- urbanculturalstudies
- Klaustoon
- New England Diary
- Failed Architecture 2
- Classic Planning Institute Blog
- Architorture
- Blog | the Original Green | Steve Mouzon
Archives
- April 2024
- March 2024
- February 2024
- January 2024
- December 2023
- November 2023
- October 2023
- September 2023
- August 2023
- July 2023
- June 2023
- May 2023
- April 2023
- March 2023
- February 2023
- January 2023
- December 2022
- November 2022
- October 2022
- September 2022
- August 2022
- July 2022
- June 2022
- May 2022
- April 2022
- March 2022
- February 2022
- January 2022
- December 2021
- November 2021
- October 2021
- September 2021
- August 2021
- July 2021
- June 2021
- May 2021
- April 2021
- March 2021
- February 2021
- January 2021
- December 2020
- November 2020
- October 2020
- September 2020
- August 2020
- July 2020
- June 2020
- May 2020
- April 2020
- March 2020
- February 2020
- January 2020
- December 2019
- November 2019
- October 2019
- September 2019
- August 2019
- July 2019
- June 2019
- May 2019
- April 2019
- March 2019
- February 2019
- January 2019
- December 2018
- November 2018
- October 2018
- September 2018
- August 2018
- July 2018
- June 2018
- May 2018
- April 2018
- March 2018
- February 2018
- January 2018
- December 2017
- November 2017
- October 2017
- September 2017
- August 2017
- July 2017
- June 2017
- May 2017
- April 2017
- March 2017
- February 2017
- January 2017
- December 2016
- November 2016
- October 2016
- September 2016
- August 2016
- July 2016
- June 2016
- May 2016
- April 2016
- March 2016
- February 2016
- January 2016
- December 2015
- November 2015
- October 2015
- September 2015
- August 2015
- July 2015
- June 2015
- May 2015
- April 2015
- March 2015
- February 2015
- January 2015
- December 2014
- November 2014
- October 2014
- September 2014
- August 2014
- July 2014
- June 2014
- May 2014
- April 2014
- March 2014
- February 2014
- January 2014
- December 2013
Social Media
Robert, I must be brief, but in essence I would reply to the “World Wars Made Us Do It” meme with the suggestion that while the wars and genocide, etc. certainly had an impact on art, the answer to the flaws we saw then and see now in our world surely is not to make art less communicative than it ever has been, and less accessible to a mass audience. There may have been a causal effect in what you cite, but it was the wrong response. It could have been as you say, but it should not have been. Just because it was (which I don’t necessaarily accept) does not mean it should have been. This is as true of art as it has been of architecture. -David
LikeLike
Hello, David
To be clear (and also brief), the “world wars” claim was made by Matt, not me, and while I think there may be some truth to it, I wouldn’t have included it in my video. Again, my greater concern was the genesis of art’s unfortunate descent, not what later fanned the flames along the way. I hope this clarifies.
Robert
LikeLike
Thank you, David, for highlighting my video on your blog, and thank you, Matt for your insightful response. You are correct in concluding that built-in time restraints on Prager University videos limit the possibilities for more involved presentations. However, though your reminders about the two World Wars having a great affect on art’s downward spiral are spot on, my concern in the video was more about pinpointing the genesis of the slide. This aspect is almost never discussed in conversations of art history and it is because of this inattention that I decided to focus on it. There is, as you suggest, much more to be said about the decline of quality in art; if I had more time I might have, for instance, pointed out that it probably is no coincidence that the beginnings of the descent of classical aesthetics coincided with the new philosophy of socialism. In my follow-up video I plan to address some of these things, as well as the myriad misunderstandings of the first video that show up around the internet and on YouTube.
Robert Florczak
LikeLike
Robert: Thanks for your reply. I appreciate the thoughtful response. My main point was to emphasize the complexity of the extended period over which classical aesthetics were abandoned. As for the coincidence of political philosophies — whether liberal/capitalist, socialist or fascist — with movements in the art world, I would suggest the record is fairly mixed. There have been some strange bedfellows involved on all sides. Best, Matt
LikeLike
I took the time to watch the video. I found the overall timeline accurate as to the general decline in the concept of standards in the visual arts, but highly reductive, even when taking into account that the video is short and therefore the message has to be compressed. If this was all one knew about what has happened to the visual arts in the last 150 years, it would indeed be inexplicable. That’s because you’d have no idea that during the same period there were two massive wars that started in Europe, spanned the globe and left tens of millions dead and Europe itself an utter wreck, or that the nation that had seemed among the most advanced and civilized had been the one to embark on genocide at a scale that still boggles the mind, or that those wars culminated in the development and use of weapons that could end human life on a global scale. There can be little doubt that both the First and Second World Wars were accelerants for the bonfire that modern art’s makers and purveyors made of the canon. Of course it went too far and indulged in its own excesses. Of course we need to maintain those things from the past that are worth maintaining. But we shouldn’t act like there was no context for modern art when there most assuredly was. These weren’t merely vandals. They were vandals responding to cataclysm and finding a receptive audience precisely because of that cataclysm. I’ll leave to another day the similarities and dissimilarities to architecture and urban design in the same period.
LikeLike