Old-school ’70s punk shock tactics are so widespread in today’s art world that they have lost any resonance. As a result, twee paintings like Gainsborough’s Blue Boy and Constable’s Hay Wain now appear mesmerizing, mysterious, and wildly transgressive. And, as Camille Paglia brilliantly argues in her must-read new book, Glittering Images, this torrent of penises, elephant dung, and smut has not served the broader interests of art. By providing fuel for the Rush Limbaugh-ish prejudice that the art world is full of people who are shoving yams up their bums and doing horrid things to the Virgin Mary, art has, quoting Camille again, “allowed itself to be defined in the public eye as an arrogant, insular fraternity with frivolous tastes and debased standards.” As a result, the funding of school and civic arts programs has screeched to a halt and “American schoolchildren are paying the price for the art world’s delusional sense of entitlement.” Thanks a bunch, Karen Finley, Chris Ofili, Andres Serrano, Damien Hirst, and the rest of you naughty pranksters!
Any taxpayers not yet fully aware of the level of frivolity and debasement to which art has plummeted need look no further than the Museum of Modern Art, which recently hosted a jumbo garage-sale-cum-performance piece created by one Martha Rosler titled “Meta-Monumental Garage Sale.” Maybe this has some reverse-chic novelty for chi-chi arty insiders, but for the rest of us out here in the real world, a garage sale is just a garage sale.