A Chance to Show One’s Quality

As part of my Burning Man reflections, I did a bit of thinking about what “art is”. Or, perhaps said better, is how it might work.

I actually did not realize the significance of a couple of sentences that I had written on that subject, until they were quoted back to me (thanks, Matthews Battles!). Here they are:

The purpose of Burning Man is to entertain. The art is low on poignant meaning, high on effort converted into wow-factor. But through that expression of entertainment is channeled an incredible amount of material, human resource, and hard work.

With these words still in my head last week, I went to see some of the events and installations of the Time Based Arts festival (TBA) here in Portland. Now, I always talk a lot of shit about TBA. Mostly because it provides me, as an artist, with that every so delicious opportunity to complain about his/her own art scene. And additionally, as the artists receive compensation for their work at TBA, it gives this non-paid artist another vector for being bitter, along a more materialist critique.

But with playa dust still coming out of my hair, TBA seemed even more asinine this year than ever before. It is not about the scope of the artwork. That there were no forty-foot tall burning structures or flame-belching vehicles meant that the work at TBA is of course going to be judged according to a different venue. But it was the attention of the artists to their art, or the lack thereof, that really stood out to me.

This is something that as an artist, or a person who builds or makes anything, can immediately see. It is as inimical to the work as the material out of which it is made. Once upon a time, we might have called it “workmanship”. Today it might be abbreviated as “good design”. I might describe it as the part of the worker that is abstracted into the work; and even this is a bit too materialist-philosophically esoteric to use as a description.

Instead, I would merely call it “quality”. Quality is something that can immediately be apprehended in viewing an object. It is something difficult to fake. In talking about this on Twitter Ella Dymaxion, playing the devil’s advocate, suggested that quality might just be a measure of privilege, “quantified by the amount of time one has had to devote to past art.” I think this gets at the point of quality, but specifically differentiating it from “skill”. We might have seemingly innate skills, or skills learned through excellent training, either acquired by luck, by privilege, or by hard work. “Quality” is limited to the particular work in question, and is only used as a stand-in for “skill” when the word is used to refer to something more general, such as the oeuvre of an artist, or an entire venue or thematic category of work.

There may be a threshold of skill that makes quality much easier to achieve. Or, some of the privilege representative in skill might constrain the sorts of mediums in which quality might reasonably be achieved by a particular person. However, the true factor in quality is effort. Whether it is a small drawing that took a few minutes, or a life long work, was the effort put into that thing, in creating it, sufficient to make quality apparent? Subjectivity will determine the response, but each subject should be able to easily make this determination.

My point in arguing this out is not to establish a new aesthetic criteria. I believe notice of quality already exists in our apprehension of artwork, mostly in terms of the negative. It isn’t so much that we stand in front of artwork and say to ourselves, “yes, this has quality, and I notice by this-and-this-and-these features.” It is that we stand in front of it, and say, “boy, but was that a waste of materials and everyone’s time.” Work lacking in quality is missing something. We’re looking for something expressed to us that means this is why we have all taken the time.

The work at TBA is largely of the sort that seeks, either explicitly (by the artist’s statement) or implicitly (by “taking part” in a genre or medium, as it were), to transmit meaning. The artists’ statements are designed to imply that the art itself is a statement. The work at Burning Man is the sort that does not imply a meaning, or if so, with a very light touch. The focus, overall, is on the apprehension, and hence, there is more of an opportunity for quality to come through in the immediate viewing of the work, rather than having to read a statement in order to “get it”.

But in addition to this difference lending Burning Man art to have its quality more easily observed than the work at TBA, I think this framework provides a better venue for aligning the artists towards finding quality in their work. I had an endemic sense at TBA that the work itself was “written off”, so to speak, in favor of the artist statement. As if it didn’t matter what sort of shit was slapped together, if it could be justified as quality in the statement.

I’ve heard the statement before that “art doesn’t justify bad craft”: meaning that you cannot use art to justify mistakes you made. You know there are mistakes. The viewer knows. There are always mistakes in work. But saying “those mistakes are supposed to be there” insults not only our intelligence as people who make things, as well as demeaning our notions of quality that art is supposed to invoke. We know better. We know when materials have been wasted, and when something could have been done better. A lack of quality, quite simply, cannot be justified as artistic. And that is the difference between quality and a lack of it.

I think that statement extends to saying that “meaning identified as artistic doesn’t justify bad craft”. I often complain about “gimmicky” artwork, seeking a popular appeal by easy, spine-jerking vectors. But at least a gimmick, well-executed, doesn’t leave the viewer with a sense of being cheated somehow. It doesn’t leave a taste in the mouth of ruined materials. It doesn’t give one an overwhelming urge to go recycle something. It may be cheap, but at least it does what it says on the box. There are quality gimmicks, and then there are voids of quality. At TBA, I noticed the latter, in hordes.

I told myself on starting to write this little essay, that I wouldn’t target any particular works I thought were lacking quality. But there was one so egregious, one so paramount of what I’m trying to convey, that I can’t help myself. Let me just say this: if you do a piece of work that, through repetition, attempts to represent a particular amount of “otherwise uncounted numbers of war dead”, and then put your work on display WITHOUT FINISHING THE TOTAL NUMBER OF THE REPRESENTATION, you are telling me that either those hundreds of thousands of dead that you did not finish representing are meaningless, or that your entire concept is. This example was particularly awful, because through its poor quality it negated a purportedly ethical meaning. But the general point is illustrated: just because you say the work means something, you cannot expect that it will. And quality is the brick from which you are going to build anything, meaningful or otherwise. You can say a wall will keep out the mongol hordes. But unless that wall is built from brick, it’s not going to do shit. And once you have a built a wall so high and so long, you don’t need to say anything. Because a real wall will be a wall without anyone having to say a thing.

What is the point of all this?

The point is that it is incredibly easy to develop stand-ins for the worth we all implicitly know and respect in work of any kind. It is easy to excuse a lack of quality for sake of art, entertainment, political meaning, wow-factor, or money. There aren’t many absolute rationales for anything in the world anymore. Even quality, despite all my talk of its almost sui generis qualities (and no it’s not, but it might sound like it is) is nothing like an absolute force in the world. And so, why not make a little money? Why not take a political cheap shot, or go after a gimmick rather than put in the time?

Yeah, that’s a good question. But I think the thing about quality is, we already know the answer to that. We just need to remember to speak up and say so, rather than take the easier way out.