This paper is from my Analytical Paper in Art in American History Before 1870.
This paper doesn't talk about the painting attached; it is there to give context on
the Hudson River School's American Paradise. Sources are not attached because
it came from class readings.
The postmodernism movement is not effective nowadays because of how it lacks
reach to many Americans. Art that criticizes and teaches history is only effective
if it can be reached, which may be impossible under corporate control of the art
world. In Wallach’s paper, “Revisionism has Changed Art History but Not
Museums,” he states that museums now are too polished to engage the average
American’s critical thinking skills, and in turn we become uneducated in American
history. We should study the art and historical context of the United States because a
lack of controversial art dulls people’s critical thinking and erases history that is
relevant to art and America. The most accessible art and history museums in
America are National museums backed by the government. When one central power
is in control of most access to history, they can cherry-pick what to display and what
to omit. National museums often pick the most polished, sanitized works of history
for the public eye, which can lead to a lack of individual thought. Wallach and
Cooper both reference the Catskill Hudson River School Museum, but Wallach
especially compares this showcase to a more polished showing, called
“American Paradise.”
If one walked into “American Paradise” with little knowledge about the Hudson
River, they would walk into neatly picked pieces, and walk away learning nothing
about the history and culture of the area. Now if one walked into Catskill, they
would learn much more about the tourism, patriotism, and industrialization of the
Hudson River area. “American Paradise” omits this history, as a literal “paradise”
free of conflicting history. Even though Catskill wasn’t controversial in nature, it
implied that there is so much that a government funded museum can hide in order
to keep public opinion in favor of corporate America. Art that talks about history
does not need to be a major controversy, but it should spark discussion, even
debate. That’s not to say American Paradise isn’t worth discussing; even art that
lacks historical context should be discussed, especially about what it is missing
or purposefully leaving out. Unlike Wallach, Cooper seems to claim that it wasn’t
the museums that failed current art history, but rather that art history now does not
renew one’s faith, spirituality, and morality. Cooper states in his paper that a change
occurred in art from the 19th to the 20th century; artists went from taking nature
hikes to bask in light, to alienating themselves in a sinister darkness. He believes
that postmodernism is an obstacle to moral and cultural development, however we
can see from the Hudson River School Museum that revisionist ideas can become
popular with the public, especially from a cultural standpoint. The Catskill exhibit
was a success, and inspired other exhibitions to break the mold of aesthetic and
individual pieces.
Only engaging with art that is too comfortable to look at, especially historical art,
lessens our critical thinking. National museums can take advantage of this, leaving
less room for criticism on our history as a nation. Wallach states that museums are
aware of this, but will excuse it as “giving the public what they want.” This makes
the public comfortable in familiarity, if the only thing they become familiar with
is a sanitized American history, as the national museums “dull the public’s critical
capacities” (Wallach 121). It’s not just about giving the public a clean, simple
answer to history, but it’s also about keeping the museums running. If any extreme
controversy was displayed, then those museums could lose funds and shut down.
Therefore, works are carefully selected to make sure public curiosity is satisfied
without a second thought. For Cooper to claim that postmodernism contributes to a
cultural crisis is misleading, since the biggest threat to a culture is to erase it.
Postmodernism invites many perspectives and debates of history, which is necessary
for a society of individuals.
Art itself doesn’t need to be scandalous or controversial, but it should spark something
worth discussing. For example, abstract contemporary pieces are also worth talking
about, in regards to how they break away from standards of art. The Hudson River
School wasn’t just a talking point of the area’s complex history, but it was also a
lesson in history that most museums are too cautious to teach. Real American
identity can be found in the people and artists themselves, rather than a corporate
outsider’s perspective.
