One of the nice things about art is that it’s esoteric. The varying levels of abstractness, symbolism, and perspective seem to contain hidden messages, which more or less fly under the radar of anyone who isn’t capable of mentally grasping the message (ie. an appropriate audience, whether in agreement or disagreement). There is an idea about readiness to art that is refreshing, that unlike mainstream culture- it’s not all-accessible and all-consumable.

What does this mean for those of us coming up through the grapevines? (Those with the capability, but not yet the experience due to whatever cultural or social reasons.)

We live in an extremely controlled (governed) environment. It is not so much the literal and obvious government, but the societal rules which are mentally restrictive. We are socialized and domesticated because we couldn’t otherwise have order. The flip side is introduced as a cautionary tale in Orwell’s 1984 and in the popular movie The Matrix. You realize you’ve been sedated; you become aware that you haven’t been fully aware. Society relies on over-anesthesia to subdue dissent and function with order. It assumes those who will make it will find their way eventually.

However, to find your way, you still have to have the conceptual framework planted. I’d bet a good portion of the consumers in mainstream media who tout the catch-phrase “out of the box” are describing it from inside the box, so that out of the box is a farce of itself. You can’t know what you don’t know; you can’t understand something if no groundwork has been laid to build the conceptual framework laid groundwork for. You need a seed.

Keep an eye out for a correlation between the disappearance of art programs in schools, and an increase in obedience, conformity, and lack of tolerance among youths. Sadly, the elite are fine with removing the opportunity for the seeds of questioning from being planted. Money can buy it privately. That is an elitist concept in itself.

But back to art– why have some ‘radical’ and highly critical theories avoided censorship or the label of propaganda? Subversive messages survive because the architects of our society don’t actually want to lock the door and throw away the key. It is the idea of qualified patrons only, which can be buried in dark ages and rediscovered hundreds of years later. We wouldn’t give the unqualified or plainly dumb the keys to the control panel, but it can be noted that some of the dark ages have been brought on by just that… the intellectually irrational or uncompassionate.

I think this is an interesting but overlooked nuance of art.. taken for granted as a right of passage into fresh air with no turning back.
I became interested in the possibilities of conceptual photography after being introduced to the work of installation artist Felix Gonzalez-Torres (American, born Cuba. 1957-1996). He chose ordinary household objects to present his ideas (social or political commentary), arguing that objects are neutral and for example, a clock cannot be criticized as having ‘a homosexual agenda’ (“Untitled, Perfect Lovers”).

Abstract art can better survive attacks than the explicit, and it may strike more clearly and simply at higher truths.

Felix Gonzalez-Torres. (American, born Cuba. 1957-1996). Untitled (Perfect Lovers). 1991. Clocks, paint on wall. overall 14 x 28 x 2 3/4″ (35.6 x 71.2 x 7 cm). Gift of the Dannheisser Foundation. © 2006 The Felix Gonzalez-Torres Foundation, Courtesy Andrea Rosen Gallery.