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Bean-counters will never understand the transcendent value of art or religion Bean-counters will never understand the transcendent value of art or religion
(4 months later)
"In a situation where miserable reality can be changed only through economic growth, the concern with aesthetics demands justification." These are very nearly the first words of The Aesthetic Dimension, Herbert Marcuse's 1978 critique of Marxist aesthetics. Except Marcuse spoke of "radical political praxis", not "economic growth"."In a situation where miserable reality can be changed only through economic growth, the concern with aesthetics demands justification." These are very nearly the first words of The Aesthetic Dimension, Herbert Marcuse's 1978 critique of Marxist aesthetics. Except Marcuse spoke of "radical political praxis", not "economic growth".
I have adapted his question for our current dominant ideology, for I don't suppose that a German Marxist philosopher is bedtime reading for Basingstoke MP and culture secretary, Maria Miller. Former economics graduate and advertising executive, Miller likes her culture to be functional, to be judged by how it boosts the wider economy. And it is part of Marcuse's argument that art becomes mere propaganda when it is forced to bend the knee to the prevailing ideology – and that is true whether it be Marxism or free-market economics.I have adapted his question for our current dominant ideology, for I don't suppose that a German Marxist philosopher is bedtime reading for Basingstoke MP and culture secretary, Maria Miller. Former economics graduate and advertising executive, Miller likes her culture to be functional, to be judged by how it boosts the wider economy. And it is part of Marcuse's argument that art becomes mere propaganda when it is forced to bend the knee to the prevailing ideology – and that is true whether it be Marxism or free-market economics.
In a thoroughly depressing speech given last month to gathered arts executives at the British Museum, she told them: "When times are tough and money is tight, our focus must be on culture's economic impact." The argument for publicly funded arts needs to be reframed, she insisted, "to hammer home the value of culture to our economy". Those whose orchestras and theatres and galleries are recipients of government funding were hardly in a position to say what they really thought about this touchy-feely philistinism from their bean-counting paymaster.In a thoroughly depressing speech given last month to gathered arts executives at the British Museum, she told them: "When times are tough and money is tight, our focus must be on culture's economic impact." The argument for publicly funded arts needs to be reframed, she insisted, "to hammer home the value of culture to our economy". Those whose orchestras and theatres and galleries are recipients of government funding were hardly in a position to say what they really thought about this touchy-feely philistinism from their bean-counting paymaster.
I do hope that Miller – and a few of the arts executives too – get to see the perfectly timed Propaganda exhibition that opens today at the British Library. There they can see what happens to art when it does the bidding of the political classes. Or instead, maybe Miller will listen to the recent intervention of Anish Kapoor on the opening of his new exhibition in Berlin, unfavourably comparing the respect and support that Germany gives to the arts with that of Britain. "In short, Britain's fucked," he concluded.I do hope that Miller – and a few of the arts executives too – get to see the perfectly timed Propaganda exhibition that opens today at the British Library. There they can see what happens to art when it does the bidding of the political classes. Or instead, maybe Miller will listen to the recent intervention of Anish Kapoor on the opening of his new exhibition in Berlin, unfavourably comparing the respect and support that Germany gives to the arts with that of Britain. "In short, Britain's fucked," he concluded.
Marcuse's attack upon the aesthetics of his Marxist forebears was that they didn't much care for aesthetics at all. They just wanted art to serve the purposes of revolution – hence the collapse of the aesthetic into the sort of realist propaganda with which communism specialised and with which Miller's approach has so much in common. They both want to turn art into advertising.Marcuse's attack upon the aesthetics of his Marxist forebears was that they didn't much care for aesthetics at all. They just wanted art to serve the purposes of revolution – hence the collapse of the aesthetic into the sort of realist propaganda with which communism specialised and with which Miller's approach has so much in common. They both want to turn art into advertising.
I ought to confess my interest in all of this, for it may seem that I do not have a dog in the fight. I do. "The power of art," says Marcuse, "lies in its power to break the monopoly of established reality." My fascination with religion is its ability to do precisely the same. That it is able to suggest there is more to reality than the flat-footed empiricism of those who believe that if you can't count it, touch it or weigh it, it doesn't exist. In an age where religion has made itself look so foolish, art carries the torch for the sort of transcendence that art and faith once shared. Kapoor's work, for instance, rightly resists categorisation. And his extraordinary biomorphic sculptures have a beauty and significance about them that cannot be reduced to mere explanation. Like religion, he is trying to say things that cannot be said.I ought to confess my interest in all of this, for it may seem that I do not have a dog in the fight. I do. "The power of art," says Marcuse, "lies in its power to break the monopoly of established reality." My fascination with religion is its ability to do precisely the same. That it is able to suggest there is more to reality than the flat-footed empiricism of those who believe that if you can't count it, touch it or weigh it, it doesn't exist. In an age where religion has made itself look so foolish, art carries the torch for the sort of transcendence that art and faith once shared. Kapoor's work, for instance, rightly resists categorisation. And his extraordinary biomorphic sculptures have a beauty and significance about them that cannot be reduced to mere explanation. Like religion, he is trying to say things that cannot be said.
The Marxes and Millers of this world are a mortal danger to true art for they are constantly seeking some reductionist explanation of its value. It may be that some conclude that art (and religion) should therefore have nothing to do with the state and thus give up on state support. I have some sympathy with this. But the alternative may be that these arts executives will then spend their time schmoozing wealthy funders in the Ivy, lunches that always come with strings attached. And art is too valuable to be placed in the hands of those who think value means money.The Marxes and Millers of this world are a mortal danger to true art for they are constantly seeking some reductionist explanation of its value. It may be that some conclude that art (and religion) should therefore have nothing to do with the state and thus give up on state support. I have some sympathy with this. But the alternative may be that these arts executives will then spend their time schmoozing wealthy funders in the Ivy, lunches that always come with strings attached. And art is too valuable to be placed in the hands of those who think value means money.
Twitter: @giles_fraserTwitter: @giles_fraser
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