I, personally, believe that the history of an artist’s work does feed into the thing. I think I appreciate new work more, after having known the older work. Seeing the evolution (or lack thereof, or regression even) enhances the experience. Knowing Tori Amos’ personal history (or what has been made knowable by her) adds a gravitas and a sincerity to many of her songs that just might not be there otherwise. I think this is the same across most artistic endeavors.

While I don’t think the term is limiting, in and of itself, if I were entrusted to bring about change, the weight of that responsibility would surely be felt. I don’t, however, think that’s necessarily a bad thing. Sometimes it’s that pressure that brings about a higher experience.

I’d cringe, that’s for sure, that’s what the words “social ____” do to me. I’d approach it from my own perspective, my own experience and try to make the best of it. It’s really hard for me (and anyone else, I believe) to do something GOOD out of something I know nothing about. We all draw from our own past experiences, and my experience so far tells me that you either do it YOUR way or it’s going to be bland and boring (because you’ll probably end up doing what’s already been done, in a much poorer way).

I hope I made some sense

I would want to vomit.

“Art” that claims to be about social change can’t reach very deep. Just like “Political Art” can’t reach nearly as deep as someone simply striving to “make something beautiful” (as Robert Wilson once succinctly stated his artistic aims.)

Why is this? Or, why do I think this???

Well, it is easier to say so with so-called political art. Art that is trying to be political always creates a division. It always puts one group of people, or one idea, on one side and therefore you end up with the opposing force on the other side. Always. There is always this duality with political force. In my world, music and multi-media, the aim is for union & integrity. Union with the audience. Union within the audience. Union with the work and the performance experience. And union with the Muse. And by integrity I don’t mean “being honest” but being whole and integrated. The way a real work of art holds together all of it’s parts.

In my view political art can never really do this, because it always puts someone on the outside. It is always exclusive.

Similarly, art purporting to effect social change feels, at minimum, somewhat bogus to me. And at it’s worst…fuck me… I’d rather have a root canal than give my attention to some pratty artist who wants to tell me what they don’t like about the world.

One of many reasons is that, who is this artist who says they know how the world should be working. Haven’t they spent the better part of their lives holed up in the studios practicing their craft? How is that some kind of authority of knowing what is right and wrong AND how to go about changing it?

It’s true artists do have a very unique perspective on the world. Especially in regards to how the creative forces work on us. But…. I’m not so sure that is automatic social authority.

I mean, sure, it’s easy to pick out some truly awful things about the world that no one could deny, and use it as a platform to “make a statement.” Rape, oppression, murder and war are all available for us to gather around and agree that they are bad.

From my most cynical side I would say that social/political artists feel powerless, so that try to put themselves on the side of “good” in order to puff up their self-worth. In reality we, as artists, ARE powerless: we have no idea how we make good things or bad things. We can only open up to the creative forces and hope for the best.

But, do I choose to open myself through someone’s work of art because I want to be lifted up and participate something miraculous, or do I want to be told that something in the world is bad?

The answer is simple for me. I want to lifted up. Not in denial of the world. But because there is a place to be lifted to.

Trey

I, personally, believe that the history of an artist’s work does feed into the thing. I think I appreciate new work more, after having known the older work. Seeing the evolution (or lack thereof, or regression even) enhances the experience. Knowing Tori Amos’ personal history (or what has been made knowable by her) adds a gravitas and a sincerity to many of her songs that just might not be there otherwise. I think this is the same across most artistic endeavors.

While I don’t think the term is limiting, in and of itself, if I were entrusted to bring about change, the weight of that responsibility would surely be felt. I don’t, however, think that’s necessarily a bad thing. Sometimes it’s that pressure that brings about a higher experience.