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Arthur C. Danto

Art Critic

Arthur C. Danto was born in Ann Arbor, Michigan, in 1924, and grew up in Detroit. After spending two years in the Army, Danto studied art and history at Wayne University (now Wayne State University) and then at Columbia University.

From 1949 to 1950, Danto studied in Paris on a Fulbright scholarship, and in 1951 returned to teach at Columbia, where he is currently Johnsonian Professor of Philosophy.

Since 1984, he has been art critic for The Nation, and in addition to his many books on philosophical subjects, he has published several collections of art criticism, including Encounters and Reflections: Art in the Historical Present (Farrar, Straus & Giroux, 1990), which won the National Book Critics Circle Award for Criticism; Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective (Farrar, Straus & Giroux, 1992); Playing With the Edge: The Photographic Achievement of Robert Mapplethorpe (University of California, 1995); and, most recently, The Madonna of the Future: Essays in a Pluralistic Art World (Farrar, Straus & Giroux, 2000). He lives in New York City.

  • Fine Art May 10, 2001

    In the Bosom of Jesus

    The almost exact coincidence in time between the destruction of the Buddha figures by the Taliban in Afghanistan and Mayor Rudolph Giuliani's renewed jihad against the Brooklyn Museum vividly underscores the problems that authorities seem to have in dealing with images. It hardly matters whether it is the most sophisticated city in the world or one of the world's most backward countries--authorities form Panels on Decency or mount Exhibitions of Degenerate Art or ship avant-garde painters off to rot in gulags or divert funds badly needed for the relief of famine to pound, with advanced weaponry, effigies into rubble. And let us not forget Plato's scheme for ridding the Just Society of mimetic art generally. As these examples suggest, iconoclasm cannot always be explained with reference to religious orthodoxy. William Randolph Hearst and Congressman George Dondero of Michigan did what they could on grounds of patriotism to cleanse America of any images that smacked of Modernism. "Art which does not beautify our country in plain simple terms that everyone can understand breeds dissatisfaction," Dondero proclaimed. "It is therefore opposed to our government and those who create and promote it are our enemies." Why should our taxes support imagery of which our officials disapprove? (The answer, of course, is that they were not elected to tell us what we could see--they were elected to secure our basic freedom to make up our own minds on matters of expression, artistic and otherwise.)

    Renee Cox's suddenly famous photograph, which shows a naked woman at a dinner party, has been stigmatized by Mayor Giuliani as indecent and anti-Catholic. It is in fact neither. The title, as everyone in the world now knows, is Yo Mama's Last Supper, but Yo Mama has been one of the ways in which Cox has referred to herself since the time when, enrolled in the Whitney Independent Study Program, she did a number of large nude photographs of herself pregnant and, later, with her son. The title in effect means "The Last Supper According to Renee Cox," and the art-historical reference is to the Last Supper according to Leonardo da Vinci. There are a great many pictures of Christ's last meal with his disciples, all of them by the nature of the case interpretations, since literal pictorial records are out of the question. Cox's interpretation enjoys the protections of the First Amendment, but one loses a great opportunity in thinking of her work--or anyone's work, for that matter--merely in terms of the artist's right to make it or the museum's right to display it. Cox is a serious artist, with serious things to say in her chosen medium. The First Amendment exists to protect the freedom of discourse, rightly perceived as central to the intellectual welfare of a free society. Art belongs to that discourse, and our taxes support museums in order to give citizens access to it. Mayors should be first in line to secure these rights and benefits rather than voice hooligan pronouncements against art for the evening news.

    Yet the history of images is also the history of forbidding the making of images. This interdiction is wholesale at Exodus 20:4, where Jehovah prohibits any likeness of anything that is in heaven above, or that is in the earth beneath, or is in the water under the earth. There is an implied thesis in pictorial psychology in this commandment, which probably goes to the heart of the matter: People have a hard time not believing that there is an internal connection between pictures and their subjects. If you can place a picture of an antelope on your cave wall, you have made an antelope present in the cave. If you have a picture of a saint before you, the saint herself is right there, mystically present in her icon. So if you pray before the icon, your prayers are immediately heard by her whose image it is. It was this intimacy with holy beings that made icons so greatly cherished in early Christianity, and that accordingly made them so vexed a political nuisance in the Byzantine Empire, which was torn asunder for more than a century by controversy over what we might think of as pictorial metaphysics. The arguments pro and con had an intricacy and deviousness that help give the term "byzantine" its familiar meaning. But when the Iconoclasts were in power, it also meant an actual destruction of icons so thorough that very few of what must have been an almost countless number of them have survived.

    Drawing is said to have been invented by a Corinthian girl, Dibutades, who traced the outline of her lover's shadow on the wall so that she would keep a trace of him with her when he left. Images in their nature have outlines, which is why Byzantine theorists regarded every likeness of God as false: God has no outlines, and so to picture God is to represent God as finite. The Byzantine practice of worshiping God through worshiping an icon of God is idolatry, which is the worship of finite things. And it was the intent of Exodus to forestall idol worship. The problem this presented to the established religion was that the church in fact exercised monopolistic control over images, and prohibition accordingly had deep economic consequences, given the appetite that was a defining trait of Byzantine culture. Supporters of icons had a clever answer. Toleration of images is one of the grounds on which Christianity distinguishes itself from Judaism and indeed Islam. The whole message of Christianity rests on the proposition that God decided to save humanity from sin by self-incarnation in human form. But human beings in our nature are finite. Since God is Jesus, in worshiping Jesus one is worshiping an infinite being in finite form. Indeed, we have Jesus' own testimony for the acceptability of images, since he himself conferred his image upon Saint Veronica, who offered him her veil to wipe his brow with as he struggled up the road to the cross: When she received it back, there was the image of Christ's face, like a photographic impression. This was considered a miracle, and Veronica's veil is one of the most important relics in the Church's large inventory.

    The identity of the persons of the Trinity is the most abstruse and contested teaching of the early Church, but once the decision is made to take on human form, the question of gender immediately arises, and this brings us to the Brooklyn case. Humans are sexually bimorphic, so the question cannot be avoided. Could God have chosen to be incarnate in a female body? To say that God could not have is inconsistent with God's power. My sense is that a male body would have recommended itself at that moment in history, in order to make sure that Jesus would have a respect and authority not ordinarily accorded females. But does this rule out that Jesus could be represented as female? That might have been difficult for worshipers to deal with during certain stages of iconography, though it should hardly be an insuperable problem, once we appreciate that pictures may be regarded as symbols rather than mere likenesses. Not even the first Christians had difficulties in accepting that Christ could be represented as a fish! The Greek word for fish, Ichthys, acted as an acronym for "Jesus Christ God's Son Savior." One of the great theologians went so far as to play on the idea that through the sacrament of baptism, water is the medium in which we live, so that Christians, like Jesus, are fishlike in nature.

    The masculine identity of Jesus is explicit in representations of the Christ child in Western art, over and over again shown with a penis, often pointed to in pictures, sometimes by the Christ child himself. The great art historian Leo Steinberg has made this the theme of a major contribution, The Sexuality of Christ in Renaissance Art and in Modern Oblivion. Any ambiguity on the matter raises difficulties of interpretation. When, for example, pilgrims carried lead badges showing Christ bearded and crucified but wearing a robe, these were found puzzling in Northern Europe, where only women wore such garments. Here is the reasoning that resolved the issue: On the evidence of dress, the figure had to be female. (Evidently clothing trumps beards, since there are bearded women.) A myth evolved that the bearded woman was Saint Wilgefortis, which derives from virgo fortis--Strong Virgin. Wilgefortis, a beautiful virgin, wanted to devote her life to Christ but was betrothed to the King of Sicily. She prayed that she be made ugly, and God answered by causing a beard to grow on her face. The King of Sicily, disgusted, canceled the wedding. Her father was so angry that he had his bearded daughter crucified. Thus grew up the cult of Saint Wilgefortis, and her worshipers, praying before the figure of a bearded woman, were unbeknownst to themselves really praying to Christ.

    An image of a crucified person wearing a dress could be, taken literally, Saint Wilgefortis, or symbolically it could be Jesus. The central figure in Yo Mama's Last Supper, since nude, is hardly ambiguous in point of gender. But it is ambiguous as to whether it is literal or symbolic representation. So let's begin to examine the work as art critics:

    It is an exceptionally large photograph, in color, consisting of five panels, each 31 inches square. The female figure occupies the entire central panel. She is standing, arms outspread, palms upturned, behind a table, set with some bowls of fruit and a wineglass. Because of the title and certain formal similarities to Leonardo's painting, one has to say that she occupies the place of Christ. I think that it is incidental to the meaning of the picture that Cox photographed herself as Jesus, since I don't think she is suggesting that she is Jesus, or that it is a self-portrait of Renee Cox as Jesus. Rather, she is working along lines associated with Cindy Sherman, who photographs herself but not as herself, with the difference that Sherman has never, so far as I know, shown her own nakedness. Renee Cox has used herself as model for Jesus, symbolically represented as a woman. This is interpretive conjecture: It is impossible to know from the picture alone whether Cox is saying that Jesus was in fact a woman or merely that he is being represented as a woman. The differences are immense, one being about theological, the other about representational, fact. Obviously the two can be connected. No one thinks that Jesus was actually a lamb, but he is often enough depicted as a lamb, and this is thought to be a symbolic way of presenting some deep truth about Jesus. One speaks about being washed in the blood of the lamb, but as Muriel Spark observes in a novel, blood is too sticky to wash with, so the image is poetic license.

    In the "Sensation" show (at the same museum and which also drew the Mayor's ire), the British artist Sam Taylor-Wood showed a Last Supper with a woman, nude from the waist up, as Jesus. She titled the work Wrecked. Taylor-Wood's picture is somewhat baroque and even Carravagesque, and in it Jesus looks haunted. Cox's picture is rather classical, with the disciples distributed in two groups of three on either side, and Jesus appears (I would say) magisterial. S/he is holding what I imagine is a shroud over his/her arms and passing behind the body, so as not to conceal her femininity. Taylor-Wood's picture raised no hackles at the time, but this may be explained through hackle-fatigue--unless the fact that Jesus is black in Cox's image is the suppressed premise in the recent complaint.

    Since Christ has been shown as a lamb in many wonderful paintings--and continues to be represented by a fish in various gift items and ornaments for automobiles, there is iconographic room for him to be shown in many different ways. Showing God as male is, as I say, a historical contingency. It could be a metaphor, through which one conveys Christ's absolute authority, males traditionally having that in patriarchal societies. But there is a more central consideration. Let us remember that the whole message of Christianity is that God took on a human form in order to redeem us through his suffering. There is a magnificent piece of criticism by Roger Fry of a Madonna and Child by Mantegna. "The wizened face, the creased and crumpled flesh of a new born babe...all the penalty, the humiliation, almost the squalor attendant upon being 'made flesh' are marked." In view of the profound suffering both women and blacks have undergone through history, it would be entirely suitable that Christ be represented as either of these, or both. It is true that in Cox's picture, Christ looks exalted and self-certain. It is a picture of someone defiant and prepared to face down her oppressors. But it is, on whatever symbolic level, after all a picture of God. Taylor-Wood's picture is of Jesus as human. But the important truth is that Jesus is supposed to have been both, and the issue of what gender the human is to be in a given representation is a matter of delicate interpretational negotiation.

    These are the considerations on which I want to deny that the picture is either indecent or anti-Catholic. The Mayor blurted out these epithets when he was shown a photograph of Yo Mama's Last Supper in the Daily News. Giuliani can always be counted on to make entertaining noises in the presence of art. He might have said the same thing had an artist scanned a picture of a fish into Leonardo's painting. I appreciate the fact that the Mayor has more pressing things to deal with than pondering the mysteries of Christ's body or the language of religious symbols, but if the so-called Decency Panel he has formed presses forward, I think he owes it to art and to his religion to ask that pictures that offend him be explained to him. I would be astonished if the panel he has appointed is interested in doing that on his behalf. If I were summoned as a witness, I would be eager to point out the complexities of interpretation involved with the art that comes before it, and that the panelists should consider the art the way it is considered by a critic, from the perspective of what view is being visually advanced. Seen that way, it becomes a matter of finding plausible critical hypotheses and then seeing whether they could not be true--giving the art the benefit of the doubt. I cannot imagine the panel having to meet very often, once its meetings turned on such matters of interpretation. The issue finally becomes of a piece with conflicts in society at large, where we have learned to tolerate views whether we like them or not.

    There is, to be sure, a distinction between protecting a right and supporting an art museum with our taxes. There are those who see free expression as a right but not necessarily a public right to art museums as institutions. That question reduces to one of why we should have art museums, paid for by our taxes. My view is that it would not be art if it did not advance views, whether the views are mine or agree with mine or not. So, you can't have art museums without the question of freedom of expression arising. (Whether there should be museums at all is another question entirely, though fortunately it is not the mayoral panel's charge to answer it!)

    So let's imagine that after all the explanations, an image really is anti-Catholic and indecent. Should our tax dollars support such art--or further, since any view can be expressed in art, are there other views we would not want expressed in our art museums? I say that if it can be expressed outside of art, there is room for it in the museum if expressed as art. Let us take a very controversial view--that abortion is murder. That is part of the discourse on abortion, and it is certainly at the heart of the "prolife" movement. A painting that shows an abortion clinic with the title Massacre of the Innocents has a right to be shown if the belief it expresses has a right to be voiced--as it of course has. It is offensive to prochoice advocates, but hanging it in an art museum harms them less than having to face people shouting their position in front of clinics. A painting showing antiabortion protesters jeering in a very ugly way could be painted by someone like Leon Golub, and it would be offensive to them in just the same way.

    All this takes us a long way from Renee Cox's photograph, and it shows how irrelevant to the deep issues of expressive freedom a panel on decency really is. These days, "indecency" is a fairly marginal infraction, since questions of fittingness and suitability are almost impossible to arbitrate. If anything is unsuitable, I would suppose it is officials talking recklessly about art when they are representatives of a city in which interest in art is profound and serious talk about art is as expressive of the city's soul as talk about baseball. A city of great museums and universities, a beacon of high culture to the world at large, deserves decency in discourse about art on the Mayor's part. I would not insist on a panel to keep the Mayor in line.

    Arthur C. Danto

  • Fine Art April 5, 2001

    Beauty and the Beastly

    Jean Clair, director of the Musée Picasso in Paris and widely respected both as scholar and art critic, has for some years been out of sympathy with contemporary art. When he and I shared a platform in the Netherlands a year ago, he spoke of a new aesthetic marked, in his view, by repulsion, abjection, horror and disgust. I have been brooding on this ever since, and particularly on disgust as an aesthetic category. For disgust, in Jean Clair's view, is a common trait, a family resemblance of the art produced today not only in America and Western Europe but even in the countries of Central Europe recently thrown open to Western modernity. We do not have in English the convenient antonymy between goût (taste) and dégoût (disgust) that licenses his neat aphoristic representation of what has happened in art over the past some decades: From taste...we have passed on to disgust. But inasmuch as taste was the pivotal concept when aesthetics was first systematized in the eighteenth century, it would be a conceptual revolution if it had been replaced by disgust. I have never, I think, heard "disgusting!" used as an idiom of aesthetic approbation, but it would perhaps be enough if art were in general admired when commonly acknowledged to be disgusting. It is certainly the case that beauty has become a ground for critical suspicion, when its production was widely regarded as the point and purpose of art until well into the twentieth century.

    Though "disgusting" has a fairly broad use as an all-around pejorative, it also refers to a specific feeling, noticed by Darwin in his masterpiece, The Expression of the Emotions in Man and Animals, as excited by anything unusual in the appearance, odor or nature of our food. It has little to do with literal taste. Most of us find the idea of eating cockroaches disgusting, but for just that reason few really know how cockroaches taste. The yogurt that sports a mantle of green fuzz--to cite an example recently mentioned in a New Yorker story--may be delicious and even salubrious if eaten, but it elicits shrieks of disgust when seen. A smear of soup in a man's beard looks disgusting, though there is of course nothing disgusting in the soup itself, to use one of Darwin's examples. There is nothing disgusting in the sight of a baby with food all over its face, though, depending on circumstances, we may find it disgusting that a grown man's face should be smeared with marinara sauce.

    Like beauty, disgust is in the mind of the beholder, but it is one of the mechanisms of acculturation, and there is remarkably little variation in our schedules of what disgusts. So disgust is an objective component in the forms of life that people actually live. The baby is very quickly taught to wipe its face lest others find it disgusting, and we hardly can forbear reaching across the table to remove a spot of chocolate from someone's face--not for their sake but for our own. What he speaks of as "core disgust" has become a field of investigation for Jon Haidt, a psychologist at the University of Virginia. He and his associates set out to determine the kinds or domains of experience in which Americans experience disgust. Foods, body products and sex, not unexpectedly, got high scores when people were queried on their most disgusting experiences. Subjects also registered disgust in situations in which the normal exterior envelope of the body is breached or altered. I was philosophically illuminated to learn that of fifty authenticated feral children, none evinced disgust at all. But I am also instructed by the fact that my cultural counterparts are disgusted by what disgusts me, more or less.

    This overall consensus encourages me to speculate that most of us would unhesitatingly find the characteristic work of the artist Paul McCarthy, largely live and video performance, disgusting. There may be--there doubtless is--more to McCarthy's art than this, but whatever further it is or does depends, it seems to me, on the fact that it elicits disgust. It may, for example, debunk a false idealism McCarthy regards as rampant in Hollywood films, advertising and folklore, as one commentator writes. But it achieves this just so far as it is disgusting. It may relentlessly and rigorously probe the airbrushed innocence of family entertainment to reveal its seamy psychic underpinnings, to cite another critic. So it may show what really underlies it all, the way the worm-riddled backside of certain Gothic sculptures whose front sides were of attractive men and women were intended to underscore our common mortality. But that does not erase the fact that maggots count as disgusting. So possibly McCarthy is a kind of moralist, and his works are meant to awaken us to awful truths and their disgustingness as a means to edificatory ends. That still leaves intact the revulsion their contemplation evokes. Disgust is not something that can easily be disguised. Beautiful art, Kant wrote, can represent as "beautiful things which may be in nature ugly or displeasing." But the disgusting is the only "kind of ugliness which cannot be represented in accordance with its nature without destroying all aesthetic satisfaction."

    "Nothing is so much set against the beautiful as disgust," Kant wrote in an earlier essay. So it is all the more striking that McCarthy's commentators attempt to find his work beautiful after all. I wanted to think about the question of beauty in your work, an interviewer murmured, to move from the manifest to the latent. The New York Times speaks of the "unlikely beauty of the work," adding that it is "not standard beauty, obviously, but a beauty of commitment and absorption." I have to believe that McCarthy's perceptions can be very little different from the rest of ours. He has, indeed, almost perfect pitch for disgust elicitors, and accordingly making the art he does must be something of an ordeal. That may have the moral beauty that undergoing ordeals possesses, especially when undertaken for the larger welfare. But if it is that sort of ordeal, then it has by default to be disgusting. As the Gothic statuary demonstrates--or for that matter, the history of showing the fleshly sufferings of Christ and the martyrs--artists down the ages have had recourse to some pretty disgusting images for the ultimate benefit of their viewers. (Taking on the iconography of Disneyland, as he does, is hardly commensurate with overcoming Satan's power, but I'll give McCarthy the benefit of the doubt.)

    Something over three decades of McCarthy's work is on view through May 13 at New York's New Museum of Contemporary Art in SoHo, and since he is widely admired by the art establishment, here and abroad, there are prima facie reasons for those interested in contemporary art to experience it. The disgusting works have mainly to do with food, but--citing Haidt--disgust is, at its core, an oral defense. There is no actual gore, though McCarthy uses food to evoke the images of gore. Similarly, there are no actual envelope violations; no one is actually cut open. But again, various accessories, like dolls and sacks, are enlisted to convey the idea that the exterior envelope of the body is breached or violated. McCarthy makes liberal use of ketchup in his performances, and in interviews speaks of the disagreeable smell of ketchup in large quantities. That is part of what I have in mind in speaking of his art-making in terms of ordeal. There may or may not be actual shit, but chocolate is what one might call the moral equivalent of feces, as you can verify through watching a few minutes of his Santa Chocolate Shop. Karen Finley used only chocolate to cover her body in the performance that landed her in hot water with the National Endowment for the Arts a few years ago--but everyone knew what she was getting at.

    The use of foodstuffs distinguishes McCarthy's art from that of the so-called Vienna Actionists of the 1960s--Hermann Nitsch and Otto Mühl are perhaps the best known, though the actor Rudolf Schwarzkogler attained a happily unmerited notoriety through the rumor that he cut bits of his penis off in successive performances of Penis Action. The Actionists made use of real blood and excrement, and excited at least the illusion of humiliation through such happenings as that in which a broken egg was dripped into Mühl's mouth from the vagina of a menstruating woman. They were heavily into desecration. McCarthy is pretty cheery alongside these predecessors. His work refers to nursery rhymes and children's stories, and he makes use of stuffed animals and dolls, often secondhand, and costumes as well as rubber masks from the joke shop. Some writers have described McCarthy as a shaman, but he rightly sees that as something of a stretch: "My work is more about being a clown than a shaman," he has said. As a clown, he fits into the soiled toy lands of his mise en scènes, which kick squalor up a couple of notches, as Emeril Lagasse likes to say when he gives the pepper mill a few extra turns.

    The clown persona is central to what within the constraints of McCarthy's corpus might be regarded as his chef-d'oeuvre, Bossy Burger (1991). But he worked his way up to the creation of this role through a sequence of performances. In these, he stuffed food in his pants, covered his head with ketchup, mimicked childbirth using ketchup-covered dolls as props. In one, or so I have read, he placed his penis inside a mustard-covered hot dog bun and then proceeded to fill his mouth to the point of gagging with ketchup-slathered franks. Throughout, food was placed in proximity to parts of the body with which food has no customary contact. But many human beings are reluctant to touch food that has merely been left untouched on the plates of strangers. Disgust is a defensive reflex, connected with fear, even if we know the food that evokes it is perfectly safe and edible. That is why there is so strong a contrast between beauty and disgust: Beauty attracts.

    McCarthy got the idea of using food as the medium of his performances in the course of searching for a very basic kind of activity. Inevitably, he had to deal with disgust, which is inseparable from eating as symbolically charged conduct. It is understandable that he would stop performing for live audiences (as he did in 1983) and begin to devise a form of theater to put a distance between himself and his viewers. I would not care to perform Bossy Burger a second time, even if I had the stomach to perform it once. It is perhaps part of the magic of theater that disgust survives as an affect, even through the video screen. It doesn't help to know it is only ketchup.

    The action of Bossy Burger transpires in what in fact was a studio set for a children's television program, and the set--a hamburger stand--is exhibited as an installation. It shows the damage inflicted on it by the performance, and looking in through the open wall--or the windows--we see an utterly nauseating interior, with dried splotches and piles of food pretty much everywhere. It has the look of California Grunge, as we encountered it in the work of Ed Kienholz. A double monitor outside the set shows, over and over, McCarthy's character, togged out in chef's uniform and toque--and wearing the Alfred E. Neuman mask that connotes imbecility--grinning his way through fifty-nine minutes of clownishly inept food preparation. Thus he pours far more ketchup into a sort of tortilla than it can possibly hold, folds it over with the ketchup squishing out and moves on to the next demonstrations. These involve milk and some pretty ripe turkey parts. The character is undaunted as his face, garments and hands quickly get covered with what we know is ketchup but looks like blood, so he quickly takes on the lookof a mad butcher. He piles the seat of a chair with food. He makes cheerful noises as he bumbles about the kitchen or moves to other parts of the set, singing, "I love my work, I love my work." Everything bears the mark of his cheerful ineptitude. At one point he uses the swinging door to spank himself, but it is difficult to believe this constitutes self-administered punishment. He looks through an opening at the world outside. McCarthy says he envisioned this chef as a trapped person, but whether that is an external judgment or actually felt by the character is impossible to decide from the work itself. Viewers may find themselves wanting to laugh, but a certain kind of compassion takes over. Perhaps it is a test for tenderness. Whatever the case, even writing about Bossy Burger makes me feel queasy.

    You won't get much relief by looking at Family Tyranny, in which the character uses mayonnaise and sings, "Daddy came home from work" as he prepares to do unspeakable things to his children. "They're only dolls" helps about as much as "It's only art" does, which underscores Kant's point about disgust. Painter mercifully turns to other substances in its slapstick comedy about the art world. McCarthy plays the role of art star, wearing a sort of hospital gown, a blond wig and huge rubber hands, and he has a kind of balloon by way of a nose. Everyone else in the action--his dealer and his collectors--wears the same kind of nose, which perhaps caricatures the hypertrophied sensitivity that exposure to art might be thought to bring. At one point, the Painter climbs onto a sort of pedestal as an art-lover kneels to smell his ass. In another action, he chops away at one of his fingers with a cleaver, and crows OK! when it comes off. This belongs to the iconography of self-mutilation that has, since van Gogh--and perhaps Schwarzkogler--become an ingredient in our myth of the true artist. The Painter's studio is filled with huge tubes of paint (one of them labeled shit), and he parodies the Abstract Expressionist address to painting by slapping pigment wildly here and there, rolling it onto a table and then pressing his canvas down onto the paint while pushing it back and forth, all the while singing some version of "Pop Goes the Weasel." Paint, food and blood serve throughout McCarthy's work as symbolic equivalents. I could not suppress the thought that Painter is a kind of self-portrait--there are photographs elsewhere in the show of an early performance in which McCarthy frantically whipped a paint-laden blanket against a wall and window until they were covered with pigment.

    It will be apparent that I am a squeamish person, an occupational impediment for an art critic if Jean Clair is right about the new aesthetic (for my response to that contention, see issue_3/News/Danto/danto.html). I am not, however, disposed to prudery, though I have a strong memory of a certain visceral discomfort when I was first writing on Robert Mapplethorpe's photographs. McCarthy's Spaghetti Man I thought was pretty funny. It is a sculpture, 100 inches tall, of a kind of bunny, wearing a plastic grin of self-approval. It could easily be on sale at F.A.O. Schwarz were it not that the bunny has a fifty-foot penis, which coils like a plastic hose on the floor beneath him. It is a kind of comment, but from an unusual direction, on Dr. Ruth's reassuring mantra for insecure males that Size Doesn't Matter. It really does matter from the perspective of masculine vanity, even if Spaghetti Man's organ would put too great a distance between himself and a partner for any show of tenderness during coitus. So its message may well be that we should be grateful for what we've got.

    I don't have anything very good to say about The Garden, an installation of McCarthy's on view at Deitch Projects, 18 Wooster Street. The garden consists of fake trees and plants--it was a movie set--in which one sees--Eek!--two animatronic male figures, one doing the old in-and-out with a knothole in one of the trees, the other with a hole in the ground. Some ill-advised writers have compared the work to Duchamp's strangely magical last work, Étant Donnés, where one sees a pink female nude, legs spread, sharing a landscape with a waterfall and a gas lamp. The masturbations in The Garden are too robotic for mystery, and the meaning of all that effort too jejune to justify the artistic effort. Cultural Gothic, a pendant to The Garden, is in the main body of the show at the New Museum. It is a life-size sculpture of a neatly dressed father and son engaged in a rite de passage in which the son is enjoying sex with a compliant goat. Whether the motor was in its dormant phase or the electricity not working--or the museum inhibited by some failure of nerve--there was no motion when I saw it. I thought that an improvement, but purists might think otherwise.

    Arthur C. Danto

  • Fine Art January 18, 2001

    A Taste for Desert Landscapes?

    A review of Sol LeWitt's Autobiography.

    Arthur C. Danto

  • Fine Art November 30, 2000

    Life in Fluxus

    John Lennon once characterized his wife, Yoko Ono, as the world's "most famous unknown artist. Everybody knows her name, but nobody knows what she does." What she was famous for, of course, was him. The art for which she was unknown could not conceivably have made her famous--although even the most famous of artists would be obscure relative to the aura of celebrity surrounding the Beatle of Beatles and his bride. Yoko Ono had been an avant-garde artist in New York and Tokyo in the early 1960s, and part of an avant-garde art world itself very little known outside its own small membership. The most robust of her works were subtle and quiet to the point of near-unnoticeability. One of her performances consisted, for example, of lighting a match and allowing it to burn away. One of her works, which she achieved in collaboration with the movement known as Fluxus, consisted of a small round mirror which came in an envelope on which YOKO ono/self portrait was printed. It belonged in Fluxus I--a box of works by various Fluxus artists, assembled by the leader and presiding spirit of the movement, George Maciunas. But the contents of Fluxus I were themselves of the same modest order as Self Portrait. We are not talking about anything on the scale, say, of Les Demoiselles d'Avignon. We are speaking of things one would not see as art unless one shared the values and ideologies of Fluxus.

    Fluxus, in that phase of its history, was much concerned with overcoming the gap between art and life, which was in part inspired by John Cage's decision to widen the range of sounds available for purposes of musical composition. Cage's famous 4'33'' consisted of all the noises that occurred through an interval in which a performer, sitting at the piano, dropped his or her hands for precisely that length of time. A typical Fluxus composition was arrived at by selecting a time--3:15, say--from the railway timetable and considering all the sounds in the railway station for three minutes and fifteen seconds as the piece. As early as 1913, Marcel Duchamp made works of art out of the most aesthetically undistinguished vernacular objects, like snow shovels and grooming combs, and he was in particular eager to remove all reference to the artist's eye or hand from the work of art. "The intention," he told Pierre Cabanne in 1968, "consisted above all in forgetting the hand." So a cheap, mass-produced object like a pocket mirror could be elevated to the rank of artwork and be given a title. How little effort it takes to make a self-portrait! In The Republic Socrates made the brilliant point that if what we wanted from art was an image of visual reality, what was the objection to holding a mirror up to whatever we wished to reproduce? "[You] will speedily produce the sun and all the things in the sky, and the earth and yourself and the other animals and implements and plants." And all this without benefit of manual skill!

    Fluxus made little impact on the larger art world of those years. I encountered it for the first time in 1984, at an exhibition held at the Whitney Museum of New York in which the art made in New York in the period between 1957 and 1964 was displayed. It was a show mainly of Pop Art and Happenings; and there were some display cases of Fluxus art, many of them objects of dismaying simplicity relative to what one expected of works of art in the early 1960s, exemplified by large heroic canvases with churned pigment and ample brush sweeps. Maciunas spoke of Fluxus as "the fusion of Spike Jones, vaudeville, gag, children's games and Duchamp"; and the display cases contained what looked like items from the joke shop, the children's counter in the dime store, handbills and the like. Ono's relationship to Fluxus is a matter of delicate art-historical analysis, but if she fit in anywhere, it would have been in the world Maciunas created around himself, where the artists and their audience consisted of more or less the same people. It was a fragile underworld, easy not to know about. Ono's work from that era has the weight of winks and whispers.

    So, it was as a largely unknown artist that Lennon first encountered her, at the Indica Gallery in London, in 1966. The point of intersection was a work titled YES Painting, which consists of a very tiny inscription of the single word Yes, written in india ink on primed canvas, hung horizontally just beneath the gallery's ceiling. The viewer was required to mount a stepladder, painted white, and to look at the painting through a magnifying lens, suspended from the frame. It was part of the work, as it was of much of Yoko Ono's art, then and afterward, that it required the participation of the viewer in order to be brought fully into being. Much of it, for example, had the form of instructions to the viewer, who helped realize the work by following the instructions, if only in imagination. The ladder/painting was a kind of tacit instruction, saying, in effect, like something in Alice in Wonderland, "Climb me." Somehow I love the fact that John Lennon was there at all, given what I imagine must have been the noisy public world of the Beatles, full of electric guitars and screaming young girls. Lennon climbed the ladder and read the word, which made a great impression on him. "So it was positive," he later said. "It's a great relief when you get up the ladder and you look through the spyglass and it doesn't say no or fuck you; it says YES." There was only the simple affirmative rather than the "negative... smash-the-piano-with-a-hammer, break-the-sculpture boring, negative crap. That 'YES' made me stay." It would be difficult to think of a work of art at once that minimal and that transformative.

    "YES" is the name of a wonderful exhibition at the Japan Society, much of it given over to the works for which, other than to scholars of the avant-garde, Yoko Ono is almost entirely unknown. I refer to the work from the early sixties, a blend of Fluxus, Cage, Duchamp and Zen, but with a poetry uniquely Ono's own. The most innovative of the early works are the Instructions for Paintings, which tell the viewer what to do in order for the work to exist. These have the form of brief poems. Here, for example, is the instruction for a work called Smoke Painting:

    Light canvas or any finished painting
    with a cigarette at any time for any
    length of time.
    See the smoke movement.
    The painting ends when the whole
    canvas or painting is gone.

    Here is another, called Painting in Three Stanzas:

    Let a vine grow.
    Water every day.
    The first stanza--till the vine spreads.
    The second stanza--till the vine withers.
    The third stanza--till the wall vanishes.

    Now these are instructions for the execution of a work, not the work itself. They exist for the purpose of being followed, like orders. In formal fact, the instructions are very attractive, written out in gracious Japanese calligraphy by, as it happens, Yoko Ono's first husband, Ichiyanagi Toshi, an avant-garde composer. It is true that the conception was hers, but by means of whose handwriting the conception should be inscribed is entirely external. Nothing could be closer to Duchamp's idea of removing the artist's hand from the processes of art. Duchamp was interested in an entirely cerebral art--the object was merely a means. And so these attractive sheets of spidery writing are merely means: The work is the thought they convey. "Let people copy or photograph your paintings," Ono wrote in 1964. "Destroy the originals." So the above instructions, in numbers equal to the press run of The Nation plus however many pass-alongs or photocopies may be made of this review, are as much or as little of "the work" as what you would see on the walls of the gallery. The question is not how prettily they are presented or even in what language they are written. The question is how they are received and what the reader of them does to make them true: The instructions must be followed for the work really to exist.

    So how are we to comply? Well, we could trudge out to the hardware store, buy a shovel, pick up a vine somewhere, dig a hole, plant the vine, water it daily--and wait for the wall against which the vine spreads to vanish. Or we can imagine all this. The work exists in the mind of the artist and then in the mind of the viewer: The instructions mediate between the two. At the Indica Gallery, Ono exhibited Painting to Hammer a Nail. A small panel hung high on the wall, with a hammer hanging from its lower left corner. Beneath it was a chair, with--I believe--a small container of nails. If you wanted to comply with the implicit instructions, you took a nail, mounted the somewhat rickety chair, grasped the hammer and drove the nail in. At the opening, Ono recalls, "A person came and asked if it was alright to hammer a nail in the painting. I said it was alright if he pays 5 shillings. Instead of paying the 5 shillings, he asked if it was alright to hammer an imaginary nail in. That was John Lennon. I thought, so I met a guy who plays the same game I played." Lennon said, "And that's when we really met. That's when we locked eyes and she got it and I got it and, as they say in all the interviews we do, the rest is history."

    Jasper Johns once issued a set of instructions that became famous: "Take an object./Do something to it./Do something else to it." Ono's version would be "Imagine an object./Imagine doing something to it./Imagine doing something else to it." Ono's enthusiasts like to say how far ahead of her time she was, based on some entirely superficial parallels between her Instructions for Paintings and certain works of Conceptual Art, which also consisted of words hung on the wall. Thus in 1967 Joseph Kosuth composed a work that reproduced the definition of the word "Idea" as it appears in a dictionary. The title of the work is Art as Idea as Idea. The work of art is the idea of idea (Spinoza--profoundly--defined the mind as idea ideae). For reasons entirely different from Ono's, Kosuth was bent on transforming art into thought.

    Art historians are always eager to establish priority, usually by finding resemblances that have little to do with one another. In truth, Ono was precisely of her own time. It was a time when the very idea of art was under re-examination by artists. Works of art can never have been more grossly material--heavy, oily, fat--than under the auspices of Abstract Expressionism. But the aesthetic experiments of Cage, of Fluxus and of Yoko Ono were not, in my view, addressed to the overthrow of Abstract Expressionism. They were rather applications of a set of ideas about boundaries--between artworks and ordinary things, between music and noise, between dance and mere bodily movement, between score and performance, between action and imagining action, between artist and audience. If the impulse came from anywhere, it came from Zen. Cage was an adept of Zen, which he transmitted through his seminars in experimental composition at The New School. Dr. Suzuki, who taught his course in Zen at Columbia, was a cult figure for the art world of the fifties. Yoko Ono had absorbed Zen thought and practice in Japan. The aim of Zen instructions was to induce enlightenment in the mind of the auditor, to transform his or her vision of world and self. The aim of Ono's instructions was similarly to induce enlightenment in the mind of the viewer--but it would be enlightenment about the being of art as the reimagination of the imagined. In her fine catalogue essay, Alexandra Munroe, director of the Japan Society Gallery, writes, "Asian art and thought were the preferred paradigm for much of the American avant-garde." Abstract Expressionism and the New York avant-garde exemplified by Cage, Fluxus and Ono belong to disjointed histories that happened to intersect in Manhattan at the same moment.

    At the time of their marriage, Ono said that she and John Lennon would make many performances together, and the fact that Lennon set foot in the Indica Gallery in the first place and engaged with Yoko Ono in that atmosphere implies that he found something in art that was lacking in the world of popular music, for all his great success. It is characteristic that for him, art meant performance--not painting on the side, which was to become an outlet for his fellow Beatle Paul McCartney (there is an exhibition of McCartney's paintings making the rounds today). What Ono offered Lennon was a more fulfilling way of making art, and inevitably she was blamed for the dissolution of the band. What Lennon offered Ono was a way of using her art to change minds not just in terms of the nature of art and reality but in terms of war and peace. In 1968 Yoko Ono declared that "the art circle from which I came is very dead, so I am very thrilled to be in communication with worldwide people." One of Yoko Ono's most inspired pieces was her White Chess Set of 1966 (a version of which, Play It By Trust, can be seen in the Japan Society lobby). Instead of two opposing sides, one black and one white, she painted everything--the board and the pieces--white. Since one cannot tell which pieces belong on which side, the game quickly falls apart. "The players lose track of their pieces as the game progresses; Ideally this leads to a shared understanding of their mutual concerns and a new relationship based on empathy rather than opposition. Peace is then attained on a small scale." But with Lennon, she and he could attempt to achieve peace on the largest scale--could use art to transform minds. In 1969, for example, they enacted their Bed-in for Peace. The tremendous widening of the concept of art earlier in the decade made it possible for being in bed together to be a work of art. The press was invited into their hotel bedrooms, gathered around the marital bed, to discuss a new philosophy in which, as in White Chess Set, love and togetherness replaced conflict and competition. In the same year the couple caused billboards to be erected in many languages in many cities, as a kind of Christmas greeting from John and Yoko. The message was WAR IS OVER! (in large letters), with, just beneath (in smaller letters), IF YOU WANT IT. There was no definite article: The sign was not declaring the end of the Vietnam War as such but the end of war as a human condition. All you have to do, as their anthem proclaimed, was GIVE PEACE A CHANCE. Get in bed; make love, not war.

    There is a somewhat darker side to Ono's work than I have so far implied. In a curious way, her masterpiece is Cut Piece, a performance enacted by her on several occasions, including at Carnegie Recital Hall in 1965. Ono sits impassively on the stage, like a beautiful resigned martyr, while the audience is invited to come and cut away a piece of her clothing. One by one, they mount the stage, as we see in a video at the Japan Society, and cut off part of what she is wearing. One of the cutters is a man, who cuts the shoulder straps on her undergarment. The artist raises her hands to protect her breasts, but does nothing to stop the action. Ideally the cutting continues until she is stripped bare. I find it a very violent piece, reminding me somehow of Stanley Milgram's experiment in psychology, in which people are encouraged to administer what they believe are electrical shocks to the subject (who pretends to be in agony). The audience has certainly overcome, a bit too gleefully, the gap between art and life--it is after all a flesh-and-blood woman they are stripping piecemeal with shears. It reveals something scary about us that we are prepared to participate in a work like that.

    Another film, Fly, shows a housefly exploring the naked body of a young woman who lies immobile as the fly moves in and out of the crevices of her body, or moves its forelegs, surmounting one of her nipples. The soundtrack is uncanny, and we do not know if it is the voice of the fly, the suppressed voice of the woman or the weeping voice of an outside witness to what feels like--what is--a sexual violation. It is like the voiced agony of a woman with her tongue cut out. The sounds are like no others I have heard. Yoko Ono is a highly trained musician who gave her first concert at 4 and who sang opera and lieder when she was young. But she is also a disciple of Cage and an avant-garde singer who uses verbal sobs, damped screams, deflected pleas, to convey the feeling of bodily invasion.

    Yoko Ono is really one of the most original artists of the last half-century. Her fame made her almost impossible to see. When she made the art for which her husband admired and loved her, it required a very developed avant-garde sensibility to see it as anything but ephemeral. The exhibition at the Japan Society makes it possible for those with patience and imagination to constitute her achievement in their minds, where it really belongs. It is an art as rewarding as it is demanding.

    Arthur C. Danto


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