An intriquing passage from On Art and Life, which nicely explains the aethetic rut that modern art has fallen into:

…that great art, whether expressing itself in words, colours, or stones, does not say the same thing over and over again; that the merit of architectural, as of every other art, consists in saying new and different things; that to repeat itself is no more a characteristic of genius in marble than it is of genius in print; that we may, without offending any laws of good taste, require of an architect, as we do of a novelist, that he should be not only correct, but entertaining.

…Nothing is a great work of art, for the production of which either rules or models can be given. Exactly so far as architecture works on known rules, and from given models, it is not art, but manufacture; and it is, of the two procedures, rather less rational (because more easy) to copy capitols and mouldings from Phidias, and call ourselves architects, than too copy heads or hands from Titian, and call ourselves artists.

John Ruskin, “ON Art and Life” pg. 31

I’m less interested in disputing this argument than in noting the pervasiveness of it in the world of art today. If, as Ruskin seems ready to argue, the industrial world has abandoned art, in favor of infinite replicability, then it seems as predictable as night following day that the art world would abandon industry. Thus the demand for absolute novelty and uselessness in the art world, to the point where Modern art today is really anti-Art: a pose and a hustle, the creation of the maximum of bewilderment and absurdity with the minimum of effort, papered over with post-modernist bafflegab and self-congratulatory obscurantism. This is not accident, it is intentional. The modern artist can only be an artist by running from the world.

And yet, such anti-art is held up as art, is embraced as art, precisely by the same wealthy bourgoisie who are busily corporatizing everything under the sun. They walk away from their number-crunching day jobs and purchase up-market nonsense. They donate to the museums and institutes that celebrate it. They hear themselves excorciated by their artist children and they laugh merrily. It’s as though the left- and right- brains of our culture, completely compartmentalized, acknowledge each other’s existence, and no more.

There are exceptions to this. One could argue that Steve Jobs was less a programmer than an artist, who imposed a particular vision on his chosen industry that was as much aesthetic as it was practical. But overall, one sees industry and art segregated rather than integrated in the modern world. And we must recognize that for art to be entertaining as well as correct, it must be correct as well.