Smelled like thanatosis. Helen submits that
one way to tell superficially nihilistic art (Heathers) from genuinely nihilistic art is whether it has any sense of eros. To put it another way: does the word "sterile" apply to the piece of art in question? If so, it is modern and you should run.
Hrm. The Rieffian contention -- which I am still not sure which side Helen comes down on -- involves a countersubmission that it's a short trip from non-nihilistic, erotic art to semi-nihilistic art with a 'sense of' eros (maintained all-too-cleverly at a few degrees of critical remove)...and an even shorter trip from there to the sterility of the ultimate in boredom that is ultimate transgression. The nut of the contention is that 'sterility' is the dead endpoint of the profanation of the sacred (not to mention fertility, which is important but only as a means).
All of which is a preliminary way of saying that a 'sense of eros' seems like an already sterilized, enfeebled, metrosexualized version of the real thing, and that this weird phenomenon strikes me as modern yes but not necessarily as not postmodern.
That said, Helen is definitely right that sterile art is scary, but more should be said about why and how: specifically, because it is death-worshipping. We've seen death-worshipping in art long before the modern era -- or at least the late modern (tautology alert). But only after WWI did it become sterile
too -- abstracted so as to lie more convincingly about its 'sense of eros.' This is the gist of Rieff's repeated attacks on Duchamp. Sterilize death-worship and it just might seem somewhat sexy: or 'stylize' it. This is an inverse of the proposition that if you sterilize death-worship is just might seem
holy -- what Rieff characterizes as spiritual snobbery, and a dangerous proposition: grace may not condescend to descend. So rather than stylizing the mortification of the flesh, you, um,
stylitize it.
You wouldn't have to worry about this at the San Diego County Fair Art Contest.
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We've seen death-worshipping in art long before the modern era -- or at least the late modern (tautology alert).
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How does art created for a dictator differ from art created for a freely elected leader? In what was is it the same?
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