PART III: WESTERN CULTURE — MODERNISM/POSTMODERNISM
At the turn of the 20th century, artists from a variety of disciplines sought to break free from the grip of Romanticism. They saw that realism was as much of an artificiality as what it was reacting against, and they saw that the original things that Romanticism had reacted against–cold rationalism, industrialization–had only gotten worse. What’s more Darwin and Nietzsche had showed (in very different ways that God really was dead; Freud that everybody was all messed up inside from repressing things (and because of our parents); and popular culture that Romanticism could take on virulent, sentimental, wildly successful, lucrative forms (the penny dreadful/dime novel, light opera, advertising, Beaux-Arts architecture, etc.). Continue reading “Artists of the Restoration Part III: MODERNISM & POSTMODERNISM”
The idea that language changes over time isn’t very controversial, but how it changes and whether or not we can or should try to control those changes certainly is controversial. Without thinking about what they are doing in these terms, many groups both along the political spectrum and among the religious sects seek to control language to some degree.
I’d been reading medieval Japanese literature for a few weeks (ah, the joys of going back to school) and really didn’t have time to pick up a novel, but it was a bit of an emotional and social necessity. So I walked down to the library on a warm summer evening a few weeks ago and looked for a copy of That Hideous Strength, the third and final book in C.S. Lewis’s space trilogy. I own a copy of my own, but most of my books are in a storage unit until I can finally live somewhere that allows me to have furniture. It vexes. But I digress.
I fear the connection here may seem tenuous. Lewis is not, after all, a Mormon author, as much as we’d long to appropriate him. But neither was the art exhibition I had looked forward to actually Mormon art. Come to think of it, the only Mormon factor in this entire train of thought is me. Let’s see how far-fetched we can get.
The most recent exhibition to open at the BYU Museum of Art is quite a departure from their previous featured exhibitions. Beholding Salvation was a collection so doctrine-centric that it seemed to pay no heed to any sort of artistic cohesion. Not that I’m criticizing – there is room for this unique curatorial approach, especially in the peculiarly insular Utah art scene. It was extremely popular with the viewing public, even (especially?) those who don’t usually consider themselves part of the Art Elite. Last year, they featured Pageants in Paint, a huge retrospective of Minerva Teichert’s work. Again – clearly Mormon art – but it was an exhibition that featured wonderful scholarship and a thematic cohesion that’s nice to see at the MoA. Last week, their newest exhibit opened: Turning Point: The Demise of Modernism and the Rebirth of Meaning in American Art. This exhibit makes no claims to be Mormon, nor does it take into consideration at all the doctrinal or even cultural foundations of Mormonism. It just happens to be in Utah. And it’s fairly successful, for what it is. It makes a clean, concise, didactic little statement about what happened to the Art Establishment in the 60s. It re-hashes Clement Greenberg. They even managed to get a Frank Stella piece on loan and it’s awful pretty. The exhibition as a whole is every bit as thought-provoking as minimalist statements and cultureless attempts at conceptual art tend to be. Which is, to say, it is entirely bankrupt of meaning and soul and it casts a dramatic spotlight across the gulf that separates Mormonism as a worldview from the secular fine art establishment.