Art goes on. Art that is transgressive will recur. But it will do so nakedly for anyone who chooses to characterize it, not only for those initiates who congratulate one another on their shared investment in standards of truth, beauty, and good conscience. Cold winds are blowing from the future onto aspirations to provide society, or even segments of society, with a capacity to bridge differences with mutual respect. I’ve often reflected that uses of “we” in critical writing are unavoidably presumptuous, though they are rhetorically meant only to invite, or perhaps to seduce, agreement. I’ve never felt less confidence in the pronoun, at a time of alienations that recall what W. B. Yeats perceived in another pandemic year, 1919: “Mere anarchy is loosed upon the world.”
Excerpt from Philip Guston and the Boundaries of Art Culture By Peter Schjeldahl
New Yorker THE ART WORLD OCTOBER 19, 2020
Many's the time I've been mistaken
And many times confused
Yes, and I've often felt forsaken
And certainly misused
But I'm all right, I'm all right
I'm just weary to my bones
Still, you don't expect to be
Bright and bon vivant
So far away from home, so far away from home...
American Tune Paul Simon
Any real change implies the breakup of the world as one has always known it, the loss of all that gave one an identity, the end of safety
James Baldwin
“We are imperfect mortal beings, aware of that mortality even as we push
it away, failed by our very complication, so wired that when we mourn
our losses we also mourn, for better or for worse, ourselves. As we
were. As we are no longer. As we will one day not be at all.”
The Year of Magical Thinking Joan Didion