Читать книгу A Companion to Arthur C. Danto - Группа авторов - Страница 22

My dissertation research involved interviewing the artists and employees of three leading New York galleries. Being connected to this process allowed Arthur to indulge in his journalistic fascination with the art world. He was far from a disengaged observer of the scene. He loved going out. He loved parties and enjoyed eating in restaurants. He relished fraternizing with artists, collectors, curators, and gallerists. Those who knew him were aware that philosophy and his late-blooming career as a critic, in the end, allowed him to enter the innermost sanctum of the art world in a way that his own abandoned project as an artist did not. The subway ride from Broadway and 116th Street to downtown represented another boundary crossed, the one between Arthur’s day job in the ivory tower and the raucous art scene where his soul, I believe, more comfortably resided. His capacity for moving effortlessly between those disparate realms set him apart from many of his peers, who were either hopelessly incapable of grasping the codes and fashions of the art world, or were no less hopelessly imprisoned by them.

Art criticism was for Arthur largely a way of practicing philosophy by other means, but it grew into something more. He was keenly aware that his ideas had an impact. He took credit for giving expression to a predicament in which art found itself in the latter part of the twentieth century. It was a situation he had helped to raise to a certain level of consciousness. But having helped usher in an anything-goes pluralism, he also provided an antidote to it: his criticism. Art criticism was a means of demonstrating how to cope with the bewildering, even paralyzing freedom of a contemporary art no longer pinned down by conventions of form, taste, or subject. It was a way of keeping up an appetite in a supermarket of art where the aisles were stocked with every conceivable type of expression. It was easy to lose one’s hunger for the new in the midst of this cornucopia. The solution was keen attention to what the eye can see, coupled with a Zen Buddhist-like big-hearted generosity in framing a response to an encounter with a work of art.

In the fall of 1994, Arthur and I took a walk around the downtown galleries. We stopped in on an exhibition by the photographer Andres Serrano. If memory serves correctly, it was his Budapest exhibition, at the Paula Cooper Gallery. The topic was of particular interest to me, because some of the images were apparently taken in my Budapest apartment, which I had rented to an American friend, who had allowed Serrano to use it as a set, or so I was told. Walking through the exhibition with Arthur provided a lifelong lesson in how to look at art. Serrano was no longer the wunderkind celebrated and scorned for his 1987 Piss Christ. In my mind, his recent depictions of nudes and corpses were cheap shots. As I walked through the show, I complained to Arthur that I found the work exploitative. Arthur had a roundly different response. After taking a long look, stopping deliberately in front of each picture, he launched into an exegesis on medieval pictorial conventions, pointing out analogies in Serrano’s work to which I had been utterly blind. We might as well have been viewing two different exhibitions. What Arthur brought to the act of seeing art was a full awareness, a willingness to engage the sum of his empathy and erudition. He later confided that he would almost never write about art he didn’t like. Panning art was cruel and a waste of time.

One can’t help but wonder, though, what Arthur would make of today’s art world. The market has continued to boom beyond all expectations. Ideas and critical debate often take a back seat to prices. Excitement about art’s interactions with popular culture has been overtaken by anxiety that the art world is turning into a minor outpost of the entertainment industry. This is the post-historical art world in its full efflorescence. Despite all that, my guess is that the bling and glam that surround today’s art scene aren’t what would rattle Arthur. The 1980s and 1990s art world that he documented and lived, after all, was plenty commercial, especially compared to what he had seen back in the 1950s. I think what would irk him is the well-nigh impossibility of making any historic breakthroughs.

Not long before Arthur died, the curator and writer Hans Ulrich Obrist and I conducted a series of interviews with him, which offered a window into his thinking late in life. “I’m not excited about the current moment, I must say,” Arthur allowed, near the end of our conversations. “The amount of liberation that’s available to artists today is unbelievable,” he went on. “But I think about moments like when Philip Guston, in 1970, at the Marlborough Gallery, was showing the Ku Klux Klan figures, and people said, ‘This is not art!’ And de Kooning comes over and gives Philip Guston a hug and tries to reassure him that it’s art, while everyone else was saying that it wasn’t.”³

The blessing and the bane of our current moment in art is that there are no longer any lines to cross. All the rules have been shattered. All the parameters and perimeters have been blurred. Anything can be art – and no one wrote with more poignancy about this vexed situation than Arthur. His great fortune was to have lived at a time when boundaries were still there for the crossing, when it was still possible to say, “This is not art.” But along with the liberating evaporation of boundaries comes an inescapable melancholy about their absence. On balance, Arthur had exquisite timing. Ennui was a small price to pay for bearing witness to art’s epic turning point.