David Byrne has some very interesting thoughts on art and creativity as status goods, spurred by his visit to Miami's Art Basel. Walter Benjamin famously argued that art had lost its magical quality or "aura" in the "era of mechanical reproduction." Riffing on Geoffrey Miller's book, The Mating Mind on Art, which argues that art evolved as "display" useful for sexual selection, Byrne argues that industrial techniques supplant craft and skill, shifting desirability to intentional "crudity" in which value becomes little more than a game who's rules are set by artists, scenes, and taste-makers. The pictures are from Byrne's post as well.
"Art, amongst other pursuits, is, according to this idea, one of a number of gauges of deeper fitness, creativity and skill. The maker may have genetic fitness not immediately apparent, especially given the fact that the typical creative person’s uniform is not a power suit ... Miller quotes Thorstein Veblen who says it used to be that the better made a spoon was, for example — the smoother, more symmetrical it was — the more highly regarded the artist and his work would be. But now machines can easily, quickly and cheaply make spoons that are more perfect that anything any artist can make by hand. Quality, in the traditional sense, has been devalued, as now anyone can afford the perfect spoon...In a clever lateral move, the arbiters of taste — and the artists as well — now seem to value everything in inverse proportion to its perfection — lumpy, imperfect and even crudely handmade items are now more valued than the clean elegant lines a machine can produce. Poor craftsmanship is valued above skill and elegance... Mere sloppiness is not enough; it must be intentional sloppiness, primitivism or borderline psychotic behavior... Painting subverts this subversion of its traditional nature by redefining itself — art is idea, not simply skillful execution. So, a work can be crudely made, or even machine made — but it has to be practically and functionally useless."
"Artists and tastemakers have taken this even further: they have created a rarified world in which only they — the in-crowd — can determine what is good and valuable. This is simply a re-establishment of animal hierarchies but with a new set of rules. The choices, the rules that define what is to be highly regarded and what is not, are often based on obscure heuristics (as well as market desirability and scarcity) but the basic idea is to create a world of aesthetics that is beyond the comprehension of the ordinary punter. A host of arbiters arrive on the scene to do the job of determining which items fit the bill... we have intentionally primitive art made by sophisticates, from Picasso to Basquiat to Bob Dylan and Tom Waits, as well as found objects and typewritten instructions that are like modern Zen koans, minus the elegant brushstrokes..."
"Is it all just a game by the upper and moneyed classes, or a con pulled by a small in-group, achieved by convincing museums and the media that there is something of innate worth there? We know that in this world value is assigned for seemingly arbitrary reasons — or at least they seem arbitrary to an outsider. In the art world, if you can convince someone that a scribble is worth a million bucks it’s actually truly worth that as soon as the buyer writes the check. The check is confirmation, as would be prime placement in an art book or museum...It may be a crazy game of high stakes poker, but it also confers, in this case, a certain level of class and sophistication to be allowed entry into the playing field ...In Miller’s view, this world is no longer about the objects or the art, just as poker is not about the way the cards actually look, but about jockeying for position and status…with some financial payoffs and museum wings in your name to boot..."
The rest, with lot's more pictures, is here.
The question this brings to mind is: What does this mean for music? Seems to me that the shift from industrial to digital technology (sampling, voice-correction, and so-on) exacerbates the trend away from craft and skill and toward status factors of one sort or another. Could this in part be what is behind the fissure between popular music with its emphasis on hyper-celebrity and indie music which has splintered into narrow taste-making scenes reflecting just such "insider" status.
Any thoughts?









