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• W259901254 abstract "My grandmother was a life-long art collector, although she would never have considered herself anything quite so fancy. Knickknacks, or sometimes just plain stuff, were her names for the hundreds upon hundreds of wall decorations, figurines, photographs and curios that eventually filled every square inch of her tiny apartment. Even more notable than the sheer volume of this display was a seeming obliviousness to accepted understandings of cultural value. Antique glass cabinets housed everything from art deco vases to stuffed animals and mass-produced souvenirs with slogans like Florida Sunshine and World's Greatest Mother. Brilliant orange, handmade do-it-yourself yarn art hung on the wall side-by-side with ornate baroque mirrors, family snapshots, K Mart pop art and Norman Rockwell imitations. Without the slightest sense of irony, my grandmother found meaning and aesthetic pleasure in all these objects, and in their care and arrangement, an experience she nurtured on a daily basis. Despite her for excess, my grandmother was an ordinary woman of modest, Midwestern origins - exactly the kind of person artists Vitaly Komar and Alex Melamid undoubtedly had in mind when they set out on their by now infamous search for an authentic Art, assisted by the marvels of modern marketing and social science. With funding from the Nation Institute and assistance from the professional market research firm Marttila & Kiley Inc., the Russian emigre team designed a scientific telephone poll called the People's Choice as a means to assess the artistic tastes and preferences of the American populace. According to Melamid, the poll was conceived as a populist project, a means to bridge the huge gap between ordinary Americans and elite artists. America, the best which has been produced in culture came from the bottom of society, he told The Nation in a 1994 interview published alongside the poll results: In Europe, the aristocrats - by blood before and now by spirit or education - invent the culture, and then they impose this culture on the people. Here, it has always worked differently, except in fine arts, which is working the same way as it is in Europe. Still these aristocrats of spirit impose their ideas on people. That's why fine art is the least important cultural thing in America. At a time when federal arts funding is politically contentious and increasingly unpopular with taxpayers, the wicked irony of the poll was that it managed to reveal everything and nothing. Some of the 102 questions did probe sociological concerns, such as socio-demographic differences, patterns of museum attendance and the types of cultural practices and aesthetic experiences which, unlike the fine arts, are significant to most Americans. But these inquiries received far less analysis and fanfare than the more gimmicky ones focusing on the size, texture, color, subject matter and style of the hypothetically perfect painting. Moreover, it was Komar and Melamid's selective interpretation of the largely irrelevant questions - the notorious Most Wanted and Least Wanted composite paintings commissioned by New York City's Alternative Museum - that generated the most media attention (including a full-color spread in the New York Times Magazine) and an enduring place in the cultural lexicon. Actually, it is no wonder that both the media and the arts community gobbled up the results of the poll so readily, for what the composite paintings offered was a simple, apolitical explanation for the gap dividing taxpayers from artists. On the most desired end of the taste spectrum was quintessential Americana: an idyllic, natural-looking landscape with mountains, a cool blue lake and clear blue sky, sunshine, plenty of trees, a group of fully-clothed members of the leisure class, cute does and even a dose of historical patriotism added by a figure of George Washington. On the opposite end was pure modern art: an unpleasant triangular abstraction in unpleasant shades of orange, red and yellow. …" @default.
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• W259901254 title "Painting by Numbers" @default.
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