return to 2004 On Prurience in Art
The problem with
contemporary art, realist and modern, is not prurience but it's opposite:
alienation. Both sides have conspired
in this alienation. The methods of
modernism are well known, but there has been no opposition from the other
side. Walter Benjamin, hardly a 20th
century progressive, recommended the assumption of "critical
distance," and his writings have influenced many. So contemporary realists come from a school
that is hardly less "critical" than the avant garde. Philosophy and criticism have moved all of
art, both avant garde and "kitsch," into ever greater realms of
analysis. In the avant garde it has become self analysis; in realism it has
most often become analysis of technique. Both are far-removed from any
accusation of prurience and voyeurism, seems to me. Voyeurism, as an interest in
the "other", would actually be a sort of tonic to either brand of
alienation. Voyeurism (a species of
prurience, no doubt) can be pathological, of course, if it stops short of contact. But it is difficult for an artist to look at
a model without contacting her first.
Art has always been voyeuristic—it is necessarily so. Modern art is less voyeuristic than
Victorian art or Renaissance art, but not, I would argue, to its benefit. It might easily be shown that voyeurism is precisely
the thing that kept art from slipping into solipsism for so long. In the early 20th century, art finally fell
headfirst into the deepest of solipsistic pits. It has still not climbed halfway out. Politics has been used since mid-century to redirect the artist's
gaze outward, but it has only partially succeeded in resocializing him, or
anybody else. Politics may create
general connections, but it cannot create human connections like a direct
interest in the body always did. That
is to say, the right sort of politics may make you love your
"neighbor" (as an abstraction); but only a sexual interest will get
you a date with the girl next door. We are now less prurient as artists
than artists have ever been (yes, there is a tear in my eye.) The avant garde
is the least sexy bunch ever to make the world stage. Vulgar and
exhibitionistic, yes. But hardly ever about sex. Sex as a pathology sometimes
rears its head, among all the other pathologies on view, but sex as sex is
pretty much unknown in contemporary art.
Love as love, not at all. So we
are privy to bleeding traffic victims and hacked up war casualities, but not to
the artist's lover, painted with tenderness or emotion. In the last instance we might be subjected
to some hidden level of misogyny or "phalludation" or other residue
of the patriarchy. How could we ever
forgive ourselves if our daughters came to think that men were looking at
them? Best turn all the "dirty old
men" into propagandists for some -ism or another. Or better yet, give art entirely over to the
post-structural women and other politically inebriated sub-groups who would
never think of looking at anyone with desire.
Furthermore, some will
say that an acceptance of voyeurism can only lead to a degraded art. They fear an explosion of outright
pornography within realism itself. I am
not sure this fear is unjustified, but its likelihood is based more on
exhibitionism than voyeurism. Voyeurism
and exhibitionism are commonly thought to be the complements of one
another. But they are complements only
in the cultural context that exhibitionism is rare. If exhibitionism becomes the norm, then voyeurism is
extinct. The joy of looking is
overthrown by having everything in full view at all times. You cannot sneak a
gratifying peek at something that is being thrown in your face. Beyond that, there are clearly different
levels of voyeurism—different people looking, different ways of looking,
different subjects treated in different ways.
A man staring at the David and a man staring at a porn site are
both staring. They are both agape and
agog, and not always for entirely different reasons. Still, it is best to differentiate the two. Art supplies its own context and rules,
where a porn site does not. The only
rule in porn is that anything goes. But nudity, even prurience, in art is
always tied to one mythopoetics or another.
With the David, the mythopoetics is obviously biblical, and so
one cannot possibly look at that sculpture in the same way one might look at a
pornsite. Even non-Christians cannot do
so, since the entire work depends on a view of the nude that is modest and
indirect. The genitals are downplayed
and stylized, for instance. The gaze is
averted: David looks away. He is busy
with something else. And so on. This applies to all art nudes, worthy of the
name. Manet's Olympia is not the
depiction of a sexual free-for-all, despite its depiction of a courtesan. She is actually very cool and detached,
hardly sexy at all. Munch's Puberty
is likewise almost wholly un-lascivious, since what is so successfully painted
is not a budding sexuality, but an
incipient crisis. All art is voyeuristic
in that it must be concerned first and foremost with its subject. Despite what we have been told by the
critics, art is not primarily about materials or forms or politics. It is about
a subject and the artist's connection to it.
It is a lack of subtlety or depth in consideration of subject that leads
to baubles or illustration, not the consideration of subject itself. If you say,
no, Michelangelo wasn't interested in the biblical David, he was interested in
creating a great sculpture, which is mostly a formal consideration; I say I
believe he was mainly interested in capturing the beauty of that particular
young man who he found to model for him, which is even more a direct interest
in subject than the biblical one. If you argue that is a prurient, low interest
which cannot lead to great art, I point to the sculpture itself. It did, so it
must be able to. He chose the right young man to be obsessed with, and the
model's grace and beauty had its own ineffable depth and subtlety, which the
artist only needed to see and find and capture. If he had chosen a different
type of model, the sculpture could not have succeeded, even infused with
Michelangelo's genius. The same is true with Jesus, in the Pieta. Force Michelangelo to work with an inferior
model and you have made the Pieta impossible. Subject, and even more
mundanely, choice of model, propel all figurative work and always will. That is
where the primary obsession begins and must begin. If the artist feels nothing
for or about his model then neither will we. Look at Rodin, sleeping with
everyone, to the benefit of his art. Perhaps we should require artists
to sleep with everyone they paint or sculpt: then we might get some real
emotion in art again. It is not prurience or voyeurism that is a problem in
contemporary art. It is a lack of real
emotion that is causing art, both realist and modern, to be so uninspired and
unmemorable. Art may not require
prurience, but it requires a full attraction to the world, and especially a
personal and intimate attraction to the subject at hand. |