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Canadian Art Quote #3
Kevin Dowler
Dowler is writing here about the controversies that arose when the National Gallery of Canada purchased Barnett Newman's "Voice of Fire" in 1990, and then again when they exhibited Jana Sterbak's "Vanitas" (aka. meat dress) in 1991.
From the "In Defense of the Realm: Public Controversy and the Apologetics of Art" published in the anthologoy Theory Rules published by YYZ Books and University of Toronto Press, Toronto, 1996. pg.82
The collapse of the distinction between, on the one hand, the sphere of aesthetic production and reception and, on the other, the spheres of everyday social and political interaction, even if only brief, can produce some interesting and unanticipated consequences. Until recently, the uselessness of art, its pure negativity, ensured its freedom to function as critique, since it rested beyond (and therefore was incapable of infecting) the horizon of everday life. However, with the erosion of the autonomy of aesthetic practice and the broadening of the scope of reception (once encouraged by the avant-garde), art can no longer hold the priviledged position that was the sign of both its freedom from constraint and its lack of utility.
Ironically, the occasions which do seem to produce some social effects and which would indicate a certain success as regards the claim for the centrality of aesthetic experience have led instead to a shrill rhetoric in defense of artistic (and, concomitantly, institutional) freedom. This appears to run into a contradiction that emerges in relation to both aesthetic practices and discourses: the persistent desire, first expressed by the avant-garde, to reunite aesthetic experience with quotidian experience, and the insistence that art remain immune to the social and political criticism of its contents.