Great Waves and Ripples: Thoughts on ‘Japanese Prints in Transition’

There are a few very pretty things and a couple of absolute wonders in the current exhibition of Japanese prints at The Legion of Honor in San Francisco.  There are works by artists like Utamaro, Hokusai and Yoshitoshi that embody the courtly elegance of ‘the floating world’ and that are well worth seeing.  You should most definitely go, but be warned: there is also a lot of mediocre stuff.  After the courtly and hugely elegant Edo period, there is an abrupt falling off rather than a transition and the exhibition ends with what the gallery describes as Ukiyo Pop. The thing is to discriminate, but sadly discrimination is in short supply these days.

The problem lies in the homogenisation that is endemic in all areas of the art world.  Take the bureaucrats who run galleries and museums.  “OK, so we don’t have a Leonardo, a Piero della Francesca or a Raphael, but we have other works and they are all ART and, thus, priceless.  We have experts who tell us so.”  The academics  are biased though.  If you have spent five to seven years on a PhD, you are hardly likely to admit that the subject of your dissertation was an artistic nonentity.  No, he or - of you are lucky enough - she may have been an incredibly minor follower of some mediocrity who was vaguely connected to a relatively unimportant workshop or studio, but the artist was the producer of enormously insightful works that capture the very essence of the zeitgeist or that prematurely deconstruct the incipient dawn of the patriarchy.  Whatever the case, it is not tosh, but something deeply profound that demands a hell of a lot of verbiage.  

Then there are the trinket shops attached to the galleries and their themed merchandise.  The public will buy the coffee mugs and t-shirts whether they show works by Vermeer, Georgia O'Keeffe or - heaven forfend - Gilbert and George.  It is all the same; it is all art. The coffee-table catalogues are equally resplendent and equally costly whatever the artist.  It doesn’t really matter as no one reads the wretched things. The important thing is that when the worshippers emerge, they clutch some mark of culture that separates them from the philistine hoi polloi and it matters not a jot whether Hokusai’s ubiquitous wave graces a scarf, book, mug or tea cosy.  The object is a conspicuous sign of sanctity much like the smudged cross on the forehead of a believer leaving a  church on Ash Wednesday.

Is a lack of discrimination important if, as Oscar Wilde said, “All art is quite useless”? Well, I rather suspect that in an age like ours, where extremists flourish and hysteria reigns, where the best lack all conviction and the worst are full of passionate intensity (to borrow the words of another Irishman), it is important to make nuanced distinctions and to have confidence in one's own judgement. In politics, as in art, the ability to distinguish quality and substance from mediocrity and superficiality is crucial. Without such discernment, we risk elevating the trivial and ignoring the profound, thus impoverishing our cultural and political life.