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Contemporary art is obsessed with the politics of identity. Visit any contemporary gallery, museum or theatre, and chances are the art on offer will be principally concerned with race, gender, sexuality, power and privilege.
The quest for truth, freedom and the sacred has been thrust aside to make room for identity politics. Mystery, individuality and beauty are out; radical feminism, racial grievance and queer theory are in. The result is a drearily predictable culture and the narrowing of the space for creative self-expression and honest criticism, the things that draw most people to art in the first place.
Sohrab Ahmari's book is a passionate cri de coeur against this state of affairs. The New Philistines takes readers deep inside a cultural scene where all manner of ugly, inept art is celebrated so long as it toes the ideological line, and where the glories of the Western canon are revised and disfigured to fit the rigid doctrines of identity politics. Pop culture is under assault, too: compliance with identity politics is the measure by which we judge our movies, TV and music.
The degree of politicisation means that art no longer plays its historical function, as a mirror and repository of the human spirit - something that should alarm not just art lovers but anyone who cares about the future of liberal civilisation.
- Sales Rank: #168304 in Books
- Brand: imusti
- Published on: 2017-06-20
- Original language: English
- Dimensions: 4.80" h x .67" w x 7.28" l,
- Binding: Hardcover
- 144 pages
- Biteback Publishing
Review
"Sohrab Ahmari's polemic against the contemporary art world is angry, witty, uncompromising, and utterly unanswerable... Tremendously entertaining and thought-provoking." - Andrew Roberts, Commentary; "An elegant and necessary salvo in a new culture war." - Quillette; "An ambitious new series that tackles the controversy of the topics explored with a mixture of intelligence and forthright argument from some excellent writers." The Observer; "This short book is reminiscent of pre-novelist Tom Wolfe books like The Painted Word and From Bauhaus to Our House, which told amusing but depressing tales about lefty politics making their way into the art world, making both art and politics worse in the process." - National Review
About the Author
Sohrab Ahmari is an editorial writer for the Wall Street Journal, based in London. He joined the Journal in New York as an assistant books editor in 2012. Prior to that, he earned a law degree at Northeastern University in Boston, served as a non-resident fellow at the Henry Jackson Society and completed a two-year commitment to Teach for America.
In addition to the Journal, Sohrab’s writing has appeared in the Chronicle of Higher Education, the Weekly Standard, Commentary and Dissent, among many other publications. He has testified before the British Parliament and appears regularly on broadcast media on both sides of the Atlantic, including the BBC, Sky News, France 24, Deutsche Welle and the Fox News Channel.
Most helpful customer reviews
1 of 1 people found the following review helpful.
The artsy-fartsy emperor has no clothes!
By Book Worm
Great language, especially in comparison to the gibberish of the artsy folks' talk the author is quoting to make his point. Modern art has lost meaning for him, he sees no beauty. Art, and the ex-bourgeois artists and their sycophants have become messengers or even missionaries for the improvement of the marginalized (real or imagined). The art objects, so the author, are full of message, and bare of beauty, worse than under the socialistic governments art industry.
Some 20 years ago I overheard a museum tour guide pointing at a completely white, about two by three meter size painting by Cy Twombly to alert the spectators to the "Potentialis" in this image. I thought this was about the widest stretch for your imagination possible.
After reading Ahmari I have to rethink that. In comparison to the observations the author describes, Twombly's picture feels more like a painter's reflection on Michelangelo.
The essay is entertaining to read, even if you do not agree with the author's strong views. (I tend to agree with his view that Shakespeare does not really need to be ultra-modernized, but I would be more tolerant with modern visual arts, after all they are modern and generic, even if they lack ingenuity or talent).
There is a potential for a major trans-Atlantic misunderstanding though.
The author calls the artists (and their fans) he criticises "identitarians". In Europe Identitarians represent an (ultra-)right wing political movement, I am sure the author would not wish them confused with those rather left leaning artists. I believe, the term has a somewhat different use in the US.
7 of 8 people found the following review helpful.
"The Olympics of Identity Politics" LOL
By Cryo Dunce
Short. A bit too focused on just a few individual "Gauchistes". By invoking their names constantly the author probably gives them more ink than they deserve. But he's right about the problem. The vital importance of the "establishment" as a group devoutly to be raged against. The present-day bourgeoisie, who have imbibed the dregs of Foucault, infused in a Starbucks six-dollar latte. The hilarious consequences of "intersectionality"; that is, of competing identity status (who wins, the book asks: a lesbian college professor or a student of color from a former colony?) And of course the absurd, dreary language of tenured Newspeak. Overall, a depressing picture of human tendencies. Is this what happens when you have a little college and a lot of fee time? Are we doomed to morph into odious blobs of righteous indignation. An army of jackasses and Streeps, posturing ever more ridiculously in the service of insatiable ego? The rambunctious, angry elite, trampling any dissent. The new philistines.
3 of 3 people found the following review helpful.
The spiritual discernment of the author is obvious, as ...
By Beau Tox
The spiritual discernment of the author is obvious, as is his derision of that modern cult of identity politics. His 'scientific method' of attending the various showcases and art openings might be considered wickedly provocative. The book, however, is not much more than a long essay on his subject, and doesn't even approach the completeness of rigor which we would require of an academic thesis. The 'thesis' could examine all of the arts in the same way, beyond just the plastic and performance varieties. I give it a '4' instead of a '5' because it was just too durn short.
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