Art as Subversion

The once venerable Louvre has hosted the work of one of Europe's most vulgar, crude and base artists, the demented coprophiliac, Jan Fabre. It is no wonder that a soul as deranged as Fabre portrays man as a worm (see above--entitled Metamorphosis.)

Writes a French critic:

"What is inadequately termed "contemporary art" has been gaining ground since 2004 against the masterpieces in the Louvre. Last year, around the tomb of Philippe Pot, a marvel of 15th century sculpture, they appended rows of fakes, as in an old-fashioned hardware store. Today, the center of the huge room (photo) where the life of Marie de Médicis by Rubens is displayed, has become a chaotic pile of tombstones like the backyard of a negligent stone-cutter. [...]
As a general rule, so-called contemporary art is nothing but an imposture. [...] The eternal repetition of what used to be the provocations of empty art or of anti-art no longer shocks anybody and procures fortune and prestige. It's the academicism of our times. [...]

But why this mania to bring this farce into classical museums, and in particular the Louvre? For despite its colossal commercial success, despite the media's drum-beating, despite the support of uncultivated billionaires imagining themselves to be art lovers and the approval of all the triumphant dupes who sing its praises, the more lucid adherents of so-called contemporary art know perfectly well that it suffers from a total absence of artistic legitimacy. Now, the theory that postulates equality, that seeks to create a supposed dialogue between on the one hand authentic masterpieces of the past, and on the other the present-day impostures, permits the latter to be extolled as having high artistic value. Contemporary art, which is not art, seeks to give itself artistic legitimacy through a forced confrontation with the greatest masterpieces. It vampirizes them in order to affirm itself as true art. The Jan Fabre exhibit in the Louvre adds nothing to Van Eyck, Memling, Rembrandt or Rubens. It does however bring to Jan Fabre the illusion of conversing on an equal footing with them, the illusion, therefore, of being a great artist."


But, why are we surprised?

Congressional Record--Appendix, pp. A34-A35

January 10, 1963

Current Communist Goals

EXTENSION OF REMARKS OF HON. A. S. HERLONG, JR. OF FLORIDA

IN THE HOUSE OF REPRESENTATIVES

Thursday, January 10, 1963

Mr. HERLONG. Mr. Speaker, Mrs. Patricia Nordman of De Land, Fla.,
is an ardent and articulate opponent of communism, and until recently
published the De Land Courier, which she dedicated to the purpose of
alerting the public to the dangers of communism in America.

At Mrs. Nordman's request, I include in the RECORD, under
unanimous consent, the following "Current Communist Goals," which she
identifies as an excerpt from "The Naked Communist," by Cleon
Skousen:

[From "The Naked Communist," by Cleon Skousen]

Scroll down to point #22 and #23

22. Continue discrediting American culture by degrading all forms
of artistic expression. An American Communist cell was told to
"eliminate all good sculpture from parks and buildings, substitute
shapeless, awkward and meaningless forms."

23. Control art critics and directors of art museums. "Our plan is
to promote ugliness, repulsive, meaningless art.