The Obligation of Art

Today I went to the vanilla soft-serve temple of pretentiousness that is the Guggenheim. And look, I’m not about to say that the art in there is objectively shit, only that there are far too many people in there who, on a profound level understood by God alone, desperately do not want to be there.

The first clue was the group of girls who had huddled around a bunch of lines on paper. They stood there, staring at a print, and nodding to each other as if to say, “Indeed, this painting of random brown lines in no way resembles the other twenty paintings of brown lines in this room. Or indeed any of the other paintings of brown lines in the next two rooms.” In awe of their art appreciation I stared at them for a little longer, only to find that when each one thought the others couldn’t see her, she’d surreptitiously look at the other two with a pained and uncomfortable look that clearly said, “Am I the only one who doesn’t get it?”

Somehow this group of three girls ended up in an art museum that not a single one of them wanted to be in or understood—and this is common for art museums. This is how most people end up in art museums: “Hey, we should check out the Guggenheim!” suggests one friend, remembering as soon as the words come out that she actually hates art. She had seen a poster for it somewhere, felt pressured into becoming more “cultured,” and now…shit…now she’s fervently praying that one of the friends will say, “No thanks, I find the mold growing in my shower far more interesting to look at.” But no, God has no mercy. So the other friends smile and say, “Hey! What a great idea,” while grimacing on the inside and remembering the endless three hours spent in the Met the last time one of their friends forgot that the entire human race secretly hates art.

And this is how you end up at the Louvre, jockeying for a position among a crowd of hundreds of people who similarly secretly could not give a shit about the Mona Lisa. This is how art museums make their money. Because no one has the balls to admit that they find art museums spectacularly boring. And this is how we end up with crowded museums filled with people cocking their heads to the side, the last resort of the desperate. “Maybe if I turn my—nope, still looks like shit.”

The best were the people on dates. I saw a cheerful lady dragging around a man, shuffling with a brave but stricken look on his face that reminded me of my subway reading, “The Imitation of Christ,” in which we are encouraged to bear suffering and not seek to escape the situation. But best of all was the couple who were clearly only remaining in the Guggenheim to justify the price they paid for their tickets. “Uh, should we look at this one now?” said the man, half-heartedly pointing at yet another framed piece of paper with some lines on it. “Um. Yeah. I guess,” said the lady, as they wearily dragged their feet through the confused/bored/in denial crowd and tossed a forlorn glance over their shoulders towards the exit.

Usually at art museums I just pretend to read the little blurbs next to the pieces, but today I was feeling adventurous. I found that when I read them I could easily imagine a man with a fake English accent, in ceremonial tweed, squat-talking and waving his hands around while squinting his eyes to convey to you the exact levels of his pretentiousness, lest you underestimate them. This art “engenders emotion,” or “fosters an expression of necessity through color,” and everything is “explored.” Every piece of art “defines” or “redefines” some abstract noun that you hadn’t ever learned in 17 years of private education, and everything is a study, such as “a study of lines,” making me imagine an artist wearing safety goggles and sweating over test tubes for hours on end only to exclaim, “EUREKA! I HAVE MADE LINE!”

Staring at what was, to me, a sheet of gold on a black background, but what was actually a “journey,” I read the following sentence: “The luminosity of gold and the seeping shadows of obsidian evoke parallel visions of eternity.” And I just stood there and thought to myself,

Does it though?

Sometimes I wonder if these art-blurb writers are actually part of a humiliating conspiracy. Some of the more enthusiastic people in the gallery provided further evidence. See, there was this man in a black turtleneck, a tweed jacket, khakis tucked into his boots, goatee, and glasses.

He would walk up to a painting and then, as if overwhelmed by the painting’s majesty, would whip his glasses off in astonishment, and then continue to stare at the painting in amazement. As someone who is extremely nearsighted, I don’t understand the logic behind this, but that’s okay. No, what made this remarkable is that after doing this he would let out a “YES” that was almost Marian in the depth it conveyed, and then would put his glasses back on, proceed to the next painting…and then do the same “LOOK AT HOW MOVED I AM!” glasses removal for each painting. I liked to imagine him to be the sort of person who at home would be eating a bowl of cereal in front of the TV, channel surfing, and dropping the bowl in amazement with what each new channel had to offer.

 In spite of  his constant cycle of being deeply moved, he somehow managed to compose himself. For a while I saw him standing near the exit, with one hand holding his tweed jacket over his shoulder and the other hand on his hip, standing like a jackass superhero in khakis. “Fear not, I bring you gratuitous corrective eyewear!”

I’ll be honest with you: I have been floored by one piece of art in my life. So maybe I’m just an emotionless bitch, but I’ve decided that you do not get to let every single piece of art exert glasses-removing levels of emotional power over you. Surrendering that way to every painting makes you the emotional equivalent of the French, and that’s not okay.

Being the contrary person that I am, part of me wants to stand in front of the elevator, contemplate it with crossed arms, and when it opens scream “YES!” and throw myself to the ground. “YES,” I’ll continue while writhing on the ground, completely moved and overwhelmed by the art of opening elevator doors, “CLEARLY THE ARTIST EXPLORES THE NOTION OF THE NECESSITY OF DISLOCATION—THROUGH COLOR!” And everyone in the gallery, here by obligation, would look at me and think, “Well, shit, I really don’t get art.”