Modern Art Sucks Part II
The Gates of Hell
On February 12 of this year, New York suffered its worst tragedy since September 11th.
On that day "The Gates" was completed and viewable to the public.
When viewing a work of modern art, I force myself to remember that art is like religion in that it is exceedingly difficult to define, which is why one person's cult is another's religion and why one person's spectacle is another's art. So while Tom Cruise and John Travolta, therefore, may rightfully claim that Scientology is an actual religion just as The Gates is a work of art, I cannot help but wonder how very different "the religion of Scientology" would be if the early adopters of said religion decided that L. Ron Hubbard's books were a bit too challenging and had instead decided upon Dr. Seuss as the lynchpin of their new spiritual awakening.
I can hear the sermon now (assuming said early adopters were also alcoholics)...
Their god is a clod.
An unrepetent fraud.
He makes them pay for sin.
We say, "hey, pass the gin."
To me The Gates is not art but a spectacle, and not an environmentally friendly one at that. It's best "seen" from the air, so people are chartering helicopters to "experience" what to my eyes looks like a ski run in Kiev. Air pollution. Noise pollution. Exactly what Central Park needs in greater quantities, right?
And while I can appreciate other's appreciation for it, just as I appreciate those who find value in Duchamp's Ready-Made urinals and snow shovels, I find Central Park a curious place to "create" this saffron spectacle, if one of the artists' motivating factors was not simply "publicity".
I'm reminded of the THE MOST PHOTOGRAPHED BARN IN AMERICA in DeLillo's "White Noise". Murray asked, "[w]hat was the barn like before it was photographed? What did it look like, how was it different from other barns, how was it similar to other barns? We can't answer these questions because we've read the signs, seen the people snapping the pictures. We can't get outside the aura. We're part of the aura. We're here, we're now."
Imagine The Gates in a park identical to Central Park in North Dakota. Without the fanfare. Without the spectacle. Without the hype. You happen upon it... a piece completed by a group of local high school students. Does that change it for you?
And while it is true that our perceptions are altered with respect to any work of art -- even a classic work of art -- about which there is some expectation, if you put the "Mona Lisa" in my bedroom, it would not fundamentally alter your appreciation for that work. Modern art, particularly spectacle art like The Gates, requires our expectations because (to my mind) its intrinsic aesthetic qualities are minimal.
Thankfully The Gates comes down on February 28. So while some will lament its short life in much the same way that some (happily no one I know) lamented the only 13-week run of "Cop Rock", I can only say that The Gates is a spectacle whose end, like February 28, cannot come too soon.
