[iDC] Re: Art
saul ostrow
sostrow at gate.cia.edu
Mon Dec 12 22:35:15 EST 2005
The new terms and conditions of industrial production guided by the
ideology of the bourgeoisie define the complimentary goals of (social)
freedom and (upward) mobility based on an individual’s ability and
determination. This modern Subject so defined, represents an inherently
conflicted singularity; on one hand self- involved on the other
committed to self-improvement. The resolution of this contradiction it
has been suggested is in the belief that if the economic sphere turns
us into animals, the cultural sphere’s task is to be the testing ground
for those idealized practices intended to resolve this conflict.
Within this model, critical as opposed to common culture functions
socially as a form of material and conceptual interface, between
differing categories of knowledge and contexts. Envisioned as a
constructive force, these are promoted as factors in the evolution of
what has come to appear to be the uncontrollable variables within the
human equation. Consequently, since the Enlightenment this vision has
compelled a belief in interpreting Arts' social objective as a means to
effect consciousness and indirectly conscience and therefore a
significant aspect of a Progressive struggle against false
consciousness. It is this belief that came to emphasize Art and Kultur
as a field of engagement capable of inducing forms of self-reflexivity,
doubt and self-criticality.
Critical culture continues to be represented one of the only area of
social production in which the emerging corporate ideology is willing
to tolerate the implementation of its stated ideals of individualism
and innovation, without having to extract monetary profits through mass
distribution. In practical terms, we are lead to conceive of 'Culture'
as a self-possessed sign of an immaterial (ideological/ conceptual)
institution, whose goals as defined in idealistic rather than realistic
terms by our society. As such, culture to accomplish this task is to be
autonomous, personal the product of an individual consciousness.
Culture’s currency is our dis-satisfaction with the status quo and a
desire for change rather than distraction, comfort or despair. This is
because either self-consciously critical or blatantly conventional,
culture is never autonomous of its social base because its maker is
not. Commerce and discourse form famous umbilical cord of gold that
Clement Greenberg refers to in Avant-Garde and Kitsch, while the
humanist project of consciousness and emancipation forms the foundation
for critical culture. Consequently, culture is circumscribed by the
political consideration of conscience and the practical ones of
exchange. The heroes of the epic struggle for our awareness and
emancipation therefore come to be the intellectuals, who continue to
negotiate the conventions of their own practices and the limitations of
their forms. Though the effect of such challenges appears to be
meaningless and impractical to the general populace we continue to
believe that such critical practices can effectively challenge the
legitimacy of Capital's power to transform anything and everything into
a merely a sign by exposing its most venal nature.
Saul Ostrow
Dean,
Visual Arts and Technologies Environment
Chair of Painting
The Cleveland Institute of Art
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