Susan Sontag famously wrote, “Interpretation is the revenge of the intellect upon art.” Those were fighting words in 1966, among a certain (probably not so large but then again much larger than it would be now) crowd. “Even more,” she continued, “It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world – in order to set up a shadow world of meanings.”
True enough, but what is the case when art itself becomes the revenge of the intellect upon . . . art?
Thus Origami Boulders, an experiment in creative expressionism that emphasizes the bridges between satire, infrarealism, hyper-realism, post-modernism, modernism, and plain old-fashioned mockery. It is not subtle. In an age when hyperbole has become truth and irony just means “bad luck,” Origami Boulders promises a return to simpler truths. What-you-see-is-what-you-get.
Fine enough, you might say, but where do you draw the line between “simpler truths” and fascism? This is a good question, since much of what is considered fascism is founded upon simple truth. At the same time however, it’s also true that only about ten percent of all simple truths are, in fact, fascistic. The problem is that that ten percent can foreseeably find the backing of an incredibly disproportionate amount of a country’s wealth and power. Here is the linkage between the artist, the slacker, the Tea Partier, and the hipster, “who in fact aligns himself both with the rebel subculture and with the dominant class, and thus opens up a poisonous conduit between the two.”
Dear heavens—but the Origami Boulders were meant, in fact, to smash the conveyors of convention, to drown the purveyors of propriety, and to derail the fornicators of formality. How is it that such a bold experiment could so quickly become turned upon itself until it was nothing more than the opposite of what it intended? Much less than a hollow statement of artistic meaning in an artless world, the Origami Boulders, it would appear to the untrained and unwashed, are little more than tools of their own opposition, indistinguishable in effect from the contemporary Democratic Party. As the man on Ellis Island said to my great-great-grandmother (not that) many years ago, “Welcome to America.”
Pray this shall not be the case and that the stony weight of the Origami Boulders will come crashing down to Earth on November 2, 2010, raining like meteorites and asteroids on the dinosaurs, bringing to an end the rule of claw-toed, semi-feathered metareptiles and giving way to the rise of little birds and all the brilliance of avian plumage and delicacy. Sigh.
America, it seems, has become the revenge of the anti-intellect on democracy. Can we throw more than paper boulders in our defense?
Notes and Credits
Photographs of origami boulders and the artistic process by the author. This work, like everything else in America, is for sale. Please email guidry_z [at] hotmail.com for a price schedule and list of options to tailor Origami Boulders to your specific needs. The fact that there is printing on one side of the sheet of paper used is indeed a meta-critique of Western Society itself, leaving no stone unturned in the artist’s quest for antihistorical self-actualization. I am grateful to Rob Vanderlan, fellow political science graduate student at the University of Michigan, for introducing me to the joys of origami boulder sculpture in 1989.
For a fuller fleshing out of the meaning of irony, see the “urban dictionary” and not, under any circumstance, Alanis Morisettee. For the “hipster” quotation, see Mark Greif’s article in the November 1, 2010 issue of New York magazine.
Susan Sontag’s famous quotation from Against Interpretation and Other Essays (1966). I tend to agree with her, so much so that I once paraphrased her statement in a cover letter for an academic position, alleging that social science is the revenge of the intellect on people. Needless to say (but I’ll say it anyway), I was never called back on that one. Then again, I also think that Origami Boulders so deeply challenges the very fundamentals of both Eastern and Western artistic traditions that Camille Paglia should invite me to her house for cocktails, though that would be too close to my heart. I’ll keep buying lottery tickets for the better odds. In retrospect, it seems like Sontag’s statement is oddly prescient of Fox News.