Following along on my post, The Bullshit Machine, here’s one of America’s beloved comics telling Americans they’re a group of total morons while they laugh hilariously.:
I’m drowning in bullshit.
I wanted to recommend a small philosophical pamphlet written in 2005 by the philosopher Harry Frankfurt titled On Bullshit. I think it should not only be recommended reading, but any art student taking courses at an American art school should have a copy in his back pocket so that he can get a handle on just what he’s being “taught” by his “art” teacher. Sorting out the bullshit is an impossible task for an art student as the entire bullshit art world he’s being expected to “compete” in is a load of bullshit.
In truth, the primary purpose of the American Art School is to guide the student in developing a line of bullshit that accompanies the bullshit he’s expected to create… preferably without having any notable drawing or painting skills, as he’ll be informed drawing and painting skills aren’t necessary. All that counts are ideas. You can make or do virtually anything you want to at art school. The critical factor in artistic advancement is to talk total bullshit as if you mean it. I’m not sure if they’ve yet begun offering classes in Gibberish 101 but if they haven’t it’s a big oversight. Without being versed in talking Gibberish, one’s future in today’s art world will no doubt be dim.
Of course, this isn’t just a requirement if one is to enter the art world. It’s the longstanding practice of our political class and business class, our journalists, our screenwriters and cinema directors… pretty much everybody in America come to think of it. The art world simply embodies and reflects the total bullshit culture it’s symptomatic of.
It, of course, makes sense that American art should be a pile of bullshit as it’s entire purpose is to entertain a public that’s being skinned to the bone by those who learned their methods from Harvard and similar ivy league Business Schools. These are people that Americans naturally worship as whoever has the most dough is a Deity in our Business Civilization. In a Business Civilization, the arts have a single purpose: to entertain. As the saying goes: If you can’t dazzle them with brilliance, blind them with bullshit. Well there’s zero brilliance in a Business Civilization, so being blinded by bullshit is what we’re forced to endure.
At the claims of arts administrators that art is there to educate people one can only laugh. If the arts were going to educate people, the first thing on order would be to educate them to the obvious fact that Post-War American art is a load of hoakum. And our Biz Civ can’t afford to let that happen since we’ve got so much dough parked in our art, … I mean our financial commodities.
It’s small wonder that Duchamp has been canonized as the greatest genius of the 20th century as he’s the Business Class’s wet dream of an artist. Duchamp frequently pronounced that all painters were morons, which a vast majority of painters readily agreed to wanting to follow Duchamp into the pantheon of great 20th century artistic geniuses. Why learn to express yourself through drawing and painting when your ideas are so brilliant all you have to do is put a vaccuum cleaner on a pedestal? The artists who get the highest laurels are the ones who can talk about their bullshit art endlessly while radiating optimism and confidence in their monumental accomplishments. Either that or acting the moron, which Andy Warhol figured out in the 1960s. He’s the American embodiment of Duchamp and he’s the template for the Great American Artist of the Eternal Present.
And what do artists at large have to say about this stupefyingly infantile art resembling nothing more than what comes out of every other orifice of Hollywood/Las Vegas America? They think it’s the most fantastic art ever created. How could it be anything but fantastic since it’s worth so much money and praised to the hilt by our brilliant art critics?
Andy Warhol is the King of American Art as his entire philosophy of art is an iteration of the philosophy of the American Business Class which he summarizes for us in simplistic enough terms because that’s really the limit of our ability to understand anything: “Art is what you can get away with.”
And he got America right: “What’s great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest.”
So-called high art is, in every respect, no different than the art in art fairs, shopping malls or boardwalks. Damien Hirst helpfully pointed this out with his spin-art masterpieces. High art is just as empty and sterile by every measure as its supposed low art counterpart. Do a thought experiment… Mentally project some Donald Judd boxes or Frank Stella or Helen Frankenthaler paintings into an upscale shopping mall… The work would look completely comfortable and be easily absorbed as a natural part of the superficial fashion art that’s on display everywhere one looks. And also, understood for what it is. Sterile and empty decoration.
Do the same thought experiment putting Delacroix’s full-size original painting measuring 145 x 195 inches The Death of Sardanapalus into the shopping mall. Would it look comfortable and be comfortabley part of the superficial fashion art surrounding it? Would anybody have the slightest understanding of the painting. The subject matter. The enormous amount of imaginative brilliance and ability to organize that into a complex painting.
Is art really this fucking bad compared to the art of Delacroix and other late 19th century painters. In a word: yes.
And the argument that Delacroix is old art and Donald Judd is new art? Total bullshit. Art is art. Old or new. It’s either great, as in the case of Delacroix. Or it’s horse manure, as in the case with Judd… or rather bullshit, which is what they produce in Texas and why Judd is perfectly situated there. The standards that apply to the Delacroix are no different than those applying to Judd. And Judd’s work is worse than pathetic in relationship to the Delacroix painting.
Another way to put this accurately would be to say that Delacroix is art and Donald Judd is non-art. But try hearing that from one of the frauds who pass as art historians. Of course, they’re in the pay of the Business Civilization so what would one expect from them other than complete bullshit?
The only thing that separates Judd’s boxes from any other prefabricated boxes are his pretentious claims to artistic greatness, which are some of the most fatuous claims imaginable considering what his actual art consisted of. Only a public as gullible and credulous as the American Art Public could wander around a Marfa, Texas looking at pre-fab boxes and think they’re having a profound art experience.
Today’s Americans are no different from the yahoos going to Buffalo Bill’s Wild West show while the extraordinary paintings, like those of Delacroix, were being made in Europe in the 19th century. The yahoos were paying for the cheap thrill of seeing the “real” West being played out by circus acts and captive people. America is the place where brains come to either die or succumb to total delusion, where you can stare gawking a couple of bronzed beer cans and swoon as if you’re having a transcendental experience of art.
Well, America has gotten its wish of world cultural domination. Delacroix and French culture are totally dead, as they now imitate American art, along with the quintessentially American artist Marcel Duchamp, who after all renounced his French citizenship in order to be near his chosen friends, the Wall Street Banks.
I know this is an overlong post and few will have read this far. But let me just add an example of what I’m referring to as total bullshit. Here’s the typical fraud I found who are ubiquitous throughout the art world, each one interchangeable with the other. But I’m sure he’s a nice guy. The art world is filled to the brim with the nicest people you’ve ever met.