I have been to some major art museums, and I have always been amazed at how even the top art establishment have allowed themselves to be bamboozled into accepting as "art" some of the absurdities they shelter in their expensive halls.
Problem is, an artist is anyone who says he is, and art is anything the "artist" produces. A talent in the basic disciplines of art (drawing, painting, sculpting) are unnecessary elements for the modern artist. All he/she must possess are some random spare parts, something to hold them all together, an "artistic vision", and the sheer gall to present the result as an artistic triumph. Next the artist must find some demented patron who desparately wants to be considered an afficionado and who is willing to pay good money for the monstrosity. These are the people who cannot bring themselves to say, "No, that's crap" for fear that their fellow art junkies will shun them for their boorish lack of artistic discernment, which is to be possessed by only the few.
These days "art", especially the "assembled" (e.g., 'elephant') genre has to be more and more over the top so that its uniqueness alone must place it in the realm of wonderful, bold and creative art. And who is willing to admit that they lack that special "art appreciation gene" in the presence of such an awe-inspiring work and cannot plumb its deep inner meanings.
Rant over. That said, there are examples of modernistic art and sculpture that, even though I can't "interpret" it, I find have a certain "Je nais se quoi" as the stooge in the hamburger commercial says.
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Today's Featured Article - A Tractor's Point of View - by John Manley. I began my life on August 3,1941. I was actually built at different times and days but I was officially an M Farmall on August 3.I was real nice and shiny. That�s me, in the old picture, third from the left. I was loaded on that train and sent to a little town in South Carolina. I didn�t get to see much of that town. I was moved off the train fast and on to the dealer�s
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