Art Writing

Studio Matters: Art Talk, Church Talk, et al.

Studio Matters began as a companion to my columns for the culture desk of The New York Sun in its brief reincarnation as a print edition. I often miss my weblog’s original mandate. At the time, The Sun ran the best arts coverage in New York City. A small troupe of us covered visual arts for the culture desk under the heading “Gallery Going.” Journalistic art criticism has been with us since the Mercure de France published the first criticism of a Paris Salon in 1738. Continue Reading
Daumier painting

Armond White is the movie critic for National Review. In 2010, as then-chairman of the New York Film Critics Circle, he addressed the group’s annual award banquet. Moviedom VIPs attended: Meryl Streep, George Clooney, Jeff Bridges, others. None liked what they heard. An essay based on that talk appeared afterward in First Things under the title “Do Movie Critics Matter?”
Most editors and publishers today cut out or limit criticism’s traditional media function. Journalistic standards have changed so drastically that, when I took the podium at the film circle’s dinner and quoted Pauline Kael’s 1974 alarm, “Criticism is all that stands between the public and advertising,” the gala’s audience responded with an audible hush—not applause.
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Art in the Mantle of Science

The trouble is that modern art in various ways abandoned imitation, representation, naturalism, and it now has to make out a case for its products’ still being truth. This is where science certain aspects of science are seized upon, assimilated, or sometimes simply plagiarized in decorative words, so as to bolster up art’s claim to cognitive value. One such use, and it is a curious reversal of Aristotle, is the boast of factuality: the work of the artist is said to be research; his creations are findings.
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Art, Science, and Soma

Among the more unnerving aspects of contemporary culture is the accelerating pretense of art to the aims, methods, and achievements of science. Call it art in drag, art in the costume of systematized knowledge, gained through observation and experiment, of the material world and its social structures. Art as counterfeit science, more accurately, as complement and accomplice to it, is proudly on show in the University of Buffalo’s current call for applicants to its PhD program in Media Study. The work below illustrates the program: Marc Bohlen’s construction is the visual correlative of Mary Shelley’s Frankenstein, science fiction brought up to date . Continue Reading
El Greco, Messiah of Modernism

Among Platonists, man is mind, intellect, above all else. Man is ordained to think. His province is learning and true wisdom. The rest is flesh and appetite, or, in the phrasing of Timaeus , an Eros of begetting. A common, ignoble thing that resides in the lower precincts of the body and pulls us earthenward, away from our celestial affinity. Christopher Johnson, in the comment section to the previous post, alludes to that ancient polarity. Speaking of El Greco’s St. Martin and the Beggar, he notes that the painting transports the scene from a mere act of charity to an encounter between the mortal and the divine. Continue Reading