Feel free to not like any of it, it is subjective, that's the point. You shouldn't let anyone tell you what art to like. Group think is bad in the art world as well (though it can be good for art dealers). But I thought it was worth the time to speak up against your characterization of the values of the art world. I have my own critiques of the art world but it's absolutely unfair to generalize that people see no difference between minimalist abstract art and the Sistine Chapel. And I believe it is interesting to understand why people consider particular works of art important even if that doesn't mean you should also subjectively like the piece.
You probably should not "like" some of the best art at all, because it should have made you uncomfortable and think things you would rather not.
Of course I say "some", because art has all kinds of different purposes or intents, and that is only the purpose of some art, not all art.
So I think recognize, acknowledge, or appreciate are the kinds of words to apply rather than like.
And art can even be good even if you not only don't like it but don't even appreciate it. It can be skillfully effective on you whether or not you like it or even have the background or perception to recognize it's quality.
So even "appreciate" isn't really a valid metric.
I think there’s this notion that art has to be technically sophisticated to be of value. But really, all art has to do is communicate something interesting or meaningful. If a white dot does this then who cares how it was made?
Finally, people make a big deal about the price of art. Well, artists (the ones I like anyway…) don’t have much to do with what a piece of art will sell for. Ultimately the piece of art is just some interesting exchange between artist and viewer, the price has nothing to do with any of this exchange.
I’m just a guy that walked into a museum and thought this guy has communicated something profound and beautiful. When someone come up and says “but that must’ve taken 5 minutes to make!!” they look like assholes.
1. https://news.knowyourmeme.com/news/heres-to-loss-the-interne...
No one prefers a random dot on a random piece of canvas. They prefer a very particular dot on a very particular canvas made by a very particular person at a very particular point in history. Remove any one one those and it loses all meaning and value. And even the most ardent fan of that work would never argue that that artist was a greater painter or even artist than Michaelangelo.
At the end of the day the "Art" is not in the craft and as such art cannot be reproduced. The world is full of Sistine Chapel pastiches on rich peoples ceilings, painted by great craftsmen, many whom might be talented artists in their own rights, and no one is in awe by them.
And anyway I feel that putting our unnamed theoretical artist up against one of the all time great artists in history is a bit unfair. Anything recognizable as a Michelangelo will automatically win just because he's Michelangelo. Probably more fair to put him up against a second-rate contemporary of Michelangelo that most people haven't heard of if you want to remove 'name recognition' from the equation.
It wins because it’s good work, not because it’s Michelangelo. A Michelangelo work will win even when the viewer doesn’t know it’s Michelangelo or even who that is.
That the point: people will appreciate it without having to be told “oh this is the high-status guy, you’re supposed to like it”, “only the high-status people can see the emperor’s clothes”, etc.
This seems like a big assumption. Is there a study that tests this idea?
If you're going to demand copious evidence solely of the hypotheses you don't like, you're going to be locked into confirmation bias.
But yes, there are easy tests you could do: get the ratios of "can't identify who made this" to "I like this" for visitors to Michaelangelo (or any still-displayed Renaissance artist, really) vs random high-status super-edgy modern.
> Why is it a big assumption that most people don't need to know "This is by Michelangelo and he is a high status artist" to enjoy the ceiling of the Sistine Chapel (or whatever else)?
This is an entirely different statement than your original comment. Of course, you don't need to know Michelangelo to "enjoy" the Sistine Chapel, nobody argued otherwise. Your claim was that, "A Michelangelo work will win even if the viewer doesn't know it's Michelangelo or even who that is." This implies a measure of comparison to something or someone else, which is far different than enjoying a single piece of art.
Surely, there are people who prefer Bertoldo di Giovanni [1] to Michelangelo.
[1] https://www.artsy.net/article/artsy-editorial-little-known-s...
It is when you don't ask for the same evidence of the opposite, original assertion, and when the test you demand/clarify-the-existence-of is a strangely narrow test that no one would have reason to do in the first place because the core problem is that no one is subjecting the more modern art to that kind of rigor to begin with! (Which would obviate the whole debate.[1])
So yes, when you come in and single out my response as needing a very specific test before you'll consider it plausible, aren't being epistemically fair.
>Of course, you don't need to know Michelangelo to "enjoy" the Sistine Chapel, nobody argued otherwise.
Are we looking at the same thread? From earlier in this same thread:
>>Anything recognizable as a Michelangelo will automatically win just because he's Michelangelo.
The assertion is that the knowledge of Michelangelo and his association with that work is artificially raising the viewer's appreciation of it. My contrary claim was that it's appreciated as good work, more so than the garbage you see in modern art museums, because it's good, not because the average viewer cares about Michelangelo specifically, which dagw was saying that the later art does (apparently) require (knowledge of the artist and other "context").
>Your claim was that, "A Michelangelo work will win even if the viewer doesn't know it's Michelangelo or even who that is." This implies a measure of comparison to something or someone else, which is far different than enjoying a single piece of art.
It implies exactly what it meant in the original comment and thread:
https://news.ycombinator.com/item?id=29227817
That is, a comparison against the later super-edgey modern art.
[1] Except maybe the time that troll passed off a monkey's art as prestigious, which made the duped critics double down and say, "well ... maybe that monkey has artistic talent!"
Both of these statements can be true at the same time. As an extreme example, take the Mona Lisa. No matter how much you think it's a good painting, there is no way that people would travel from around the world in their thousands to see that painting if it wasn't for the whole story/mythology/history around that painting and its creator. It's not THAT good a painting. There are dozens of technically more interesting and 'better' painting hanging in the Louvre that those people happily run past just to see the Mona Lisa. Or go to the Galleria dell'Accademia and count how many people who are just interested in the David statue and ignore all the other, equally 'good', statues they have.
Or take an uninteresting commissioned portrait of a minor nobelmans daughter and tell people it's an original Michelangelo. They will all of a sudden find the painting much more interesting than if you told them it was by an unknown contemporary of Michelangelo.
And there is nothing weird about this. A rusty sword that you can prove has been used by a famous general in a great battle will attract more interest and attention than a rusty sword of unknown provenance.
All of this can be true without taking anything away from Michelangelo as one of the greatest artists who has ever lived.
The "acid test" of Renaissance art being more praiseworthy than the exhibits in modern art museums is that people can know nothing about the "goo" of the artists and still go away thinking "damn, that's awesome". The fact that some of the artists have "name currency" is noise in this dynamic, not signal.
If the best you can say about the super edgy, more modern art is that "oh yeah, people flock to see it because they think other people like it who think other people like it" -- well, you either aren't familiar with "The Emperor's New Clothes", or you sorely missed its point.
It seems you felt attacked by my comment, which was not the intent. Apologies if it came off confrontationally. I never asked you to supply “a specific test”, I asked if there was one. Not sure why you took it as a personal attack on your point. I was genuinely interested in if the topic has been studied/tested.
Ask someone, you can have a replica of a piece you've seen, maybe even in person, that has cultural importance to their religion and it is by {famous artist} or you can have a replica of a piece by {some other artist}. I'd guess they'd go with what they know, sight unseen.
But now we are no longer talking about them as art, but as interior design and decoration.
Also, I would not picked any of those for living room. Might pick dot for background screen. And this choice have nothing to do with actual value of either.
But equally, that is not what made Michelangelo a great artist. There where dozens of extremely technically skilled painters that lived around the same time, none of whom most people have heard of. So if you want to argue for Michelangelo as a great artists, you cannot simply say "well he was very good at painting and made pretty pictures". Lots of people did that, so why is Michelangelo famous today and none of them.
The pareto frontier of possible artworks approaches higher quality with increased labor input. This doesn't mean the Labor Theory of Value isn't totally bonkers.
So, people talk about works that are memorable. Like that one abstract dot of historical interest, or the original paintings from the old masters that perfected the techniques that artists emulate.
There are many technically skilled artists, physicists, and entrepreneurs whose names you will never learn because the never ended up doing anything particularly original. (And of course there are many original thinkers who will never be known because they're just not technically skilled enough to execute on their vision.)
In my opinion, value in many fields ends up being the cross product of "doing the thing right" and "doing the right thing".
I know that Thiel is clearly trying to get the audience to go "oh wow, physics is harder than lit!"
But strangely enough this runs counter to my personal experience. While not physics in particular, I know far more lit/classics/humanities people doing advanced/research work in technical areas than I do technically trained people excelling in anything humanities related.
My experience has also been that most physicists, when confronted with challenging French critical theory, simply dismiss it as nonsense rather than taking any time to understand it. I have met far more people who were trained on reading Derrida who can converse casually about advanced calculus topics than the reverse.
Additionally I find something like Lagrangian mechanics to take far less time to under stand than not just learning French, but learning French well enough to engage deeply with texts and theory spanning a fairly broad period of history.
As to your question:
> Sistine Chapel ceiling, who would more likely impress the fans of the other, that artist trying to reproduce Michaelangelo's work or vice versa?
That's a combination of a straw man and a false equivalency. First the "dot on a white canvas" represents a very, very narrow part of a very specific field of Modern art which the vast majority of trained academic artists and theorists will agree is not particularly their taste. There's plenty of niche physicists doing work that most physicists find questionable. A better example of postmodern art is Pulp Fiction, and I think if you polled the general public on whether or not they wanted to see the Sistine chapter or watch Pulp Fiction you'd find a bigger split, and likewise each artist would have an equally hard time.
The false equivalency is that you're comparing Michelangelo to some imagined Modernist painting that I'm guessing you don't have a name for. This is a bit like comparing Einstein to an imaginary string theorist a liberal arts college.
The argument works in any recognized genre or art - the claim is "In a particular chosen genre, a person can be more skilled than an 8 year old who has no idea what they are doing".
The genre can be whatever that has no known established numeric metric. I.e. sports do not generally qualify for this argument as they most of the time have a metric that is more or less objective, and you can say based on numbers who is better without the need for "taste".
To my understanding, Paul is familiar with academic art so he feels confident in using it as the example genre as he is comfortable in discussing it's nuances.
You see arguments about aesthetics and taste all the time in sport. "Team A may have won the championship, but they have a very ugly style. Team B played a much more beautiful game" or "I love watching Team C play even if they lose almost all the time, because they have such a fun and interesting way of playing". In some sports like MMA you have fighters with near perfect records and impressive win streaks against the best in the league, but no one watches them because they're "boring".
Essentially there are two ways of viewing sport. From the player/teams point of view where it is all about winning, or from the spectators point of view where the primary goal is to be entertained.
The only relevant skill an artist can have is to capture their emotions in their work in such a way that the audience of it is made to both experience and ponder those. Extra points for complex compositions.
There is something to be said about the kind of feeling you chose to share. You can be a dick about it while stil perfecting the challange.
The white dot on canvas or the entirely white canvas are simpel displays of arrogance mixed with some prestige. Not a particularly refined combination of and it reduces to anger in many viewers. It doesnt enrich the spectators life, they know those emotions well enough which, like love songs, makes it poor taste.
That is straw position.
> who would more likely impress the fans of the other, that artist trying to reproduce Michaelangelo's work or vice versa?
There are many artist capable to reproduce Michaelangelo's work. They are not impressing people who admire Michaelangelo or classical art. People who admire Michaelangelo typically fully understand that people after Michaelangelo learned from him. They also understand Michaelangelo was working, learning and studying having limitations we don't have.