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Future ShockThe future of art, he says, "seems no longer to lie with the creation of enduring masterworks." Rather, artists work for the short term. McHale concludes that: "Accelerated changes in the human condition require an array of symbolic images of man which will match up to the requirements of constant change, fleeting impression and a high rate of obsolescence." We need, he says, "a replaceable, expendable series of ikons." One may quarrel with McHale's contention that transience in art is desirable. Perhaps the flight from permanence is a tactical error. It can even be argued that our artists are employing homeopathic magic, behaving like primitives who, awed by a force they do not comprehend, attempt to exert control over it by simple-mindedly imitating it. But whatever one's attitude toward contemporary art, transience remains an implacable fact, a social and historic tendency so central to our times that it cannot be ignored. And it is clear that artists are reacting to it. The impulse toward transience in art explains the whole development of that most transient of art works, the "happening." Allan Kaprow, who is often credited with originating the happening, has explicitly suggested its relationship to the throw-away culture within which we live ...» |
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