The website of the Catholic Artists Society offers an audio download of its sponsored lectures. In return, it asks only for the courtesy of a small voluntary donation. When I went to the site after Gregory Wolfe’s talk, there was an addendum to the donation button. If you preferred prayer to cash, you could make good by saying a decade of the Rosary for the conversion of artists.
That codicil is now gone, thank goodness.
The conversion of artists. Given the unlovely, preparatory landfill turned out in carloads by MFA programs, it might have seemed a humane objective. But it was not. An intention as self-referential—reverential—as that underwrites, without meaning to, the corrosive self-regard that has helped propel us down the rabbit hole we find ourselves in. The Society is wise to have removed it.
Today’s artist, together with art itself, has swollen like a puff adder in what Jacques Barzun dubbed “the vacuum of belief.” Religious aestheticism is as susceptible to dilation as its secular counterpart. Contemporary Christianity is too often tempted to sanctify its own worldly replacement.
In reality, artists are not as pivotal in the cultural chain of command as they have been groomed to think. Implicit in the Society’s initial request was the assumption that artists are primary agents, rather than easily visible symptoms, of cultural devolution. It ascribed to artists the power to reverse the mess we are in. It assumed artists to be ascendant over the nexus of less conspicuous actors in the cultural arena: curators, collectors, grant-giving panels, state accreditation bureaucrats, publishers, critics (add unemployed art historians and poets looking for a gig), dealers, academic department chairs, arts entrepreneurs and administrators, diversity connoisseurs, art fund managers, art consultants, museum trustees, publicists, et alia. It was an assumption that participated in the very ideology the Society prays to overturn.
The deification of artists has progressed to the point where they are no longer required to make anything; they simply have to be. It is a boundless mandate. The charge never wears out. It is not only the rich who are different from you and me. The artist, too, is a particular kind of being—rarified, born under the sign of Saturn, ordained for alienation, poised for mutiny. And shimmering with vision. More shaman than maker, the contemporary artist is a conceptual product of the culture of academia: a brew of left-leaning, utopian romanticism. Heady with attitude and missionary fervor, it disdains skills—manual ones—as the stock villain in the embourgeoisement of the artist’s true role.
Every artist, a cub Bolshevik.
This is learned behavior. And the acquisition of it has been structured in to university art departments since the end of the Second World War. The state of art today is, in very large measure, an unforeseen consequence of the G.I. Bill of Rights. The bill gave funds directly to returning GIs, to spend on their choice of schooling. Many (e.g. Wayne Thiebaud, U.S. Air Force; Richard Diebenkorn, U.S. Marine Corps) chose to study art.
Colleges and universities competed for the funds by establishing art departments that offered the added caché of a college degree unattainable through premier atelier-style institutions like the Art Students League or the (no longer extant) Brooklyn Museum Art School. Consequently, the Left’s steady march through the institutions was straight on course to parade through the arts as well. This it did with a vengeance in the Sixties, with no sign of let-up since. Even institutions founded on the atelier system are succumbing to the demands of accreditation, with its attendant baggage, in the struggle to stay solvent.
A current promo for the Pennsylvania Academy of Fine Art, the nation’s first museum and art school, states it this way: “We make artists.” In bold. Sarah Bisceli might well have shown talent before arriving at PAFA, but now she has progressed beyond all that. [See above.] She has learned how to be an artist. And PAFA is pleased to illustrate the efficacy of their instruction with her installation.
In all, artists have already been converted. They are born again to the wrecking ball, an instrument beloved by insurgent academics.