Who’s Afraid of Modern Art: Vandalism, Video Games, and Fascism
Jacob Geller・22 minutes read
Barnett Newman's painting "Who's Afraid of Red Yellow and Blue Three" sparked controversy and vandalism, reflecting debates on art's value and societal impacts, drawing parallels to historical censorship and artistic repression. The argument over traditional skill versus contemporary expression in art misses the broader significance of artistic impact and cultural narratives, highlighting ongoing struggles between artistic freedom and societal norms.
Insights
- Barnett Newman's painting "Who's Afraid of Red Yellow and Blue Three" was vandalized in 1986, sparking mixed reactions due to its controversial nature and the debate over what constitutes true art versus deviance.
- The history of censorship and vandalism against artists like Newman, Rothko, and creators of unconventional works like "Depression Quest" highlights the ongoing struggle between preserving artistic freedom and imposing rigid definitions of art to align with societal norms and power structures.
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Recent questions
What is the significance of Barnett Newman's painting "Who's Afraid of Red Yellow and Blue Three"?
The painting was part of a series by Barnett Newman, known for its simplicity and use of one dominant color with minimal accents. Despite its straightforward appearance, the painting sparked controversy and debate, especially after it was vandalized in 1986. The title itself references Edward Albee's play "Who's Afraid of Virginia Woolf," adding layers of meaning to Newman's work.
Who was Jesse Helms and what was his stance on controversial art?
Jesse Helms was a former North Carolina Senator known for his opposition to controversial art, particularly targeting artists like Robert Mapplethorpe and Andres Serrano. He aimed to preserve what he considered true art, leading to protests and debates over artistic freedom and censorship.
How did Nazis view art that did not align with their ideology?
Nazis imposed rigid definitions of art that aligned with their cultural and ideological values, creating hierarchies that marginalized dissenting or diverse artistic expressions. They showcased works they despised in a gallery of "degenerate art," labeling artists as deviants to justify their devaluation.
What was the controversy surrounding Mark Rothko's painting in 2012?
In 2012, a man vandalized one of Mark Rothko's paintings, criticizing contemporary art as lacking creativity and serving only the art market. This act sparked discussions about the value of art, the role of creativity, and the impact of vandalism on artistic expression.
How did the game "Depression Quest" challenge traditional gaming narratives?
"Depression Quest" subverted traditional role-playing power fantasies by portraying the struggles of depression, offering no winning options and highlighting mental health challenges. Despite receiving praise, the game faced backlash and harassment campaigns, reflecting broader debates on objectivism in the gaming industry.
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Summary
00:00
"Art, Politics, and Destruction: A Controversial Debate"
- "Who's Afraid of Red Yellow and Blue" was a painting by Barnett Newman, eight feet tall and eighteen feet wide, but there were actually four paintings with this title, and this is number three.
- The title is a reference to Edward Albee's play "Who's Afraid of Virginia Woolf," where four characters turn their lives inside out over three hours and 68,000 words.
- Newman's paintings are essentially one color with some accents, and despite their simplicity, "Who's Afraid of Red Yellow and Blue Three" hung in the Stedelijk Museum in Amsterdam for several years before being destroyed in 1986.
- A man vandalized the painting by slashing about 50 feet of the fabric with a box cutter, leading to mixed reactions as the painting had been a subject of criticism and even made people physically sick.
- Former North Carolina Senator Jesse Helms was known for his opposition to controversial art, particularly targeting artists like Robert Mapplethorpe and Andres Serrano.
- Helms aimed to preserve the distinction between true art and deviance, leading to protests and controversies over art funding and exhibitions.
- Mark Rothko's work, known for its simplicity yet profound impact, faced vandalism in 2012 when a man tagged one of his paintings, criticizing contemporary art as lacking creativity and serving only the art market.
- Paul Joseph Watson, a critic of modern art, argues that art should adhere to objective standards of quality and talent, dismissing non-traditional works as degrading society.
- The debate over the value of art based on skill and effort misses the point, as art's impact and significance go beyond the labor involved in its creation.
- Fascism tends to impose rigid definitions of art to align with cultural and ideological values, creating hierarchies that prioritize certain aesthetics and narratives while marginalizing dissenting or diverse artistic expressions.
17:35
"Nazis and White Supremacists Target Artists"
- Nazis showed respect for artists but only if their art fed back into the national mythology, leading to a gallery of "degenerate art" showcasing pieces they despised.
- The degenerate art gallery held works by artists like Matisse, Durane, and Kokoska, labeled as deviants and mentally ill by the Nazis to justify their devaluation.
- White supremacists targeted artists like Barnett Newman, vandalizing his work to display power and reject his message of freedom and challenging societal norms.
- "Depression Quest" is a game subverting traditional role-playing power fantasies by portraying the struggles of depression, offering no winning options and highlighting mental health challenges.
- The game faced backlash and harassment campaigns, with critics claiming it received praise due to ulterior motives, reflecting a broader war on objectivism in the gaming industry.
- Patrick Buchanan criticized modern art as barbarism, attributing it to the amorality and cowardice of art critics enforcing a dominant cultural ideology.
- Attempts to control art and define cultural narratives through specific qualities align with maintaining a hierarchy and upholding the status quo, rather than respecting artistic craft or meaning.
