Le Demoiselle de Avignon may be a revolting exploitation and sexist display by a renowned, womanizing misogynist, but it’s also a fantastic example of form, style, cubism, an illustration of the shift from art nouveau to art deco, and, frankly, a celebration of the female form. I’ve even heard it argued that it empowers sex workers, although I’ve also heard some fierce debate about that.
My point is that, when exercising the nuanced discretion of “separating the art from the artist”, the “art” in question should, at least, be of sufficient redeeming value to consider overriding the distaste for the artist in order to consider the value of the art, especially when considering the overall contributions to art (on the general sense) made by the artist in question (nobody reasonable would dare question Picasso’s contributions to the art world, for example, despite home being a contemptible person).
W. Bush, on the other hand, is no Picasso— and even Picasso, the shitbag he was, was no war criminal. And he certainly hated fascists.
I’m not judging anything. What I’m saying is that works must be judged for their redeeming value in toto against the actions the deeds of the artist. Ie, one must be judged in balance against the other, not simply one or the other in a vacuum.
I’m trying to express my standard for judgement, not making a judgement myself.
The artist isn’t a framework. An artist creates a framework, from which they must eventually be separated (in your wording).
So, once an artist is prolific enough to establish (as you put it) a “framework”, then one can separate the judgement of the “framework” form the individual artist themselves.
Le Demoiselle de Avignon may be a revolting exploitation and sexist display by a renowned, womanizing misogynist, but it’s also a fantastic example of form, style, cubism, an illustration of the shift from art nouveau to art deco, and, frankly, a celebration of the female form. I’ve even heard it argued that it empowers sex workers, although I’ve also heard some fierce debate about that.
My point is that, when exercising the nuanced discretion of “separating the art from the artist”, the “art” in question should, at least, be of sufficient redeeming value to consider overriding the distaste for the artist in order to consider the value of the art, especially when considering the overall contributions to art (on the general sense) made by the artist in question (nobody reasonable would dare question Picasso’s contributions to the art world, for example, despite home being a contemptible person).
W. Bush, on the other hand, is no Picasso— and even Picasso, the shitbag he was, was no war criminal. And he certainly hated fascists.
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Seems to me @gregorum is talking about Demoiselles d’Avignon’s impact on art a a whole. It was a very influential painting.
Bush on the other hand is only notable because of who painted it. It’s a common naive realism style.
I’m not judging anything. What I’m saying is that works must be judged for their redeeming value in toto against the actions the deeds of the artist. Ie, one must be judged in balance against the other, not simply one or the other in a vacuum.
I’m trying to express my standard for judgement, not making a judgement myself.
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The artist isn’t a framework. An artist creates a framework, from which they must eventually be separated (in your wording).
So, once an artist is prolific enough to establish (as you put it) a “framework”, then one can separate the judgement of the “framework” form the individual artist themselves.
Does that make sense?
Edit: if not, maybe I can clarify further
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I really appreciate your take on this. Well put.
Hooray! My $350k MfA finally paid off!
Can I get some help with rent? (Seriously! I haven’t eaten in 3 days!)
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Australian guys are so fucking hot, I’d be willing to move halfway across the world for your bizarro kangaroo ramen
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Roman is definitely not the same wherever you are, and kangaroo steak is objectively delicious