51–60 of 117 posts
Ive always felt that the Art World seems to talk in its own tone. And that tone is arrogant, looking down on people, and haughtiness. Words dont mean with the Art World as they normally do. And definitions are scarce, since you are expected to innately know them, or be 'out'.
Earlier quoted context omitted.
The same art world (or more specifically the "Consumer Aesthetics Research Institute") also named "Frutiger Aero" the defining aesthetic of 2000s, even though it was really only seen in a few places (Aqua aesthetic is very different from Aero). All of this should probably be taken with grains of salt.
I never got why Frutiger Aero got so popular as a ‘nostalgic’ aesthetic, when it’s basically the Windows Vista, GNOME 3 (the awful rewrite of GNOME 2), KDE 4.0 (the buggy, emo black rewrite of KDE 3) look? It was the lowest point of computer graphics. Who the hell is nostalgic for that? Probably just kids that had their formative years in those ~2-3 years. Not sure you can even call it a niche. I’m a fan on the vapor…
Calling liminalism the "defining" aesthetic of our time is a bit much (though I get the article is trying to hitch its wagon to the Backrooms, aka the "current popular thing"). It's an aesthetic microniche, about as popular as vaporwave, or cyberpunk, grunge, or Y2K (think flip phones, bulky plastic cameras, etc.). There's a ton of these, and some are surprising: for example, there's even been a relatively recent rev…
Ive always felt that the Art World seems to talk in its own tone. And that tone is arrogant, looking down on people, and haughtiness. Words dont mean with the Art World as they normally do. And definitions are scarce, since you are expected to innately know them, or be 'out'.
This sounds like the chip on your shoulder rather than anything about the article.
Ive also purchased and commissioned a few pieces of art. And I find that with actual artists, they ARE very approachable and dont have the Art Critic vibe of 'better than you'.
Its primarily the art literature and critics whom portray this haughty and 'holier than thou' types of one way conversations.
My SO works for a art museum, and they constantly fight with those types as well. When their museum hosts art painting days for artists (primarily plen air or open air painting), the artists use appropriate jargon for painting, but the critics show up and its basically a word-soup for their own vernacular.
There's an interesting connection to draw between liminal spaces (especially the Backrooms variety) and the "latent space" concept from AI, both mechanically and sociologically. Basically, generative AI is an industrial-scale blend of almost every image and concept in human history, and within the labyrinthine, uninterpretable neural networks that power it, you can "find" every conceivable combination of objects, sty…
Earlier quoted context omitted.
> Liminalism (if we can christen this as a movement, and we should) is a form dedicated to the discovery of digital found art. It is important not just because of its content, but because it signals the migration of critical terminology and thinking into popular discourse in a truly democratic sense, independent of the traditional confines of the art industry as expressed in exhibitions, galleries, and museums. This…
It’s just one group of elitists slap-fighting another. Are we really supposed to take seriously that “liminalism is the defining aesthetic of our time”? > This is not the language of an elitist. It absolutely is. Someone claiming to tell you what is “important”, what is “truly democratic”, in contradiction to “traditional” structures is elitism at its most insufferable.
Examples:
"Emptied of stores and absent of humans, Columbus’s photograph captures the melancholic discomfort of liminal aesthetics — the strange, simultaneous pull of disquiet and nostalgia that makes this bottom-up, crowd-curated digital movement among the most pertinent and explicit artistic reactions to the strange, surreal experience of living in our particular moment of dystopian late capitalism."
Holy run-on dense sentence, Batman! The amount of connected jargon (and overloading the jargon) is said in such a way that you cant engage with it. That should have been 3 sentences.
"As an internet phenomenon, the most recent iteration of liminal aesthetics can be primarily traced to a 2019 Creepypasta collaborative short story entitled “The Backrooms,” which first appeared on the message board 4chan."
And heres a backup of the original 4chan post https://archive.4plebs.org/x/thread/22661164/#22661164
As much as 4chan spouts (slur for black people, slur for gay people, pro-nazi propaganda), that thread is super approachable by everyone. 'Post your disquieting images that feel off'.
"Obviously, the clearest thematic precursor to Liminalism is Edward Hopper. There is a stolid, individualistic, bootstrapping Protestant work ethic element to Hopper’s work, which is, in its sheer insanity, the wellspring of the alienation implicit in Liminalism."
First, the definition is researching that artist, and trying to even understand their place and all the hidden meanings there. But the point is name dropping, showing the "in group" that they really totally know what theyre talking about.
The reality is that art really is for everyone! Humans have been making art since before we were homo sapiens. The problem is the arrogant art critique world is trying to gatekeep "art" to their own definitions and nomenclature that excludes the masses.
Earlier quoted context omitted.
There is no “official opinion” of the art world. These are just different organizations with their own opinions.
In fact, when you see someone in the art world claiming that X is a "defining" anything, it usually means that they have a big collection of X for sale. In this case, I imagine it's submarine marketing for the movie that's out.
Earlier quoted context omitted.
In fact, when you see someone in the art world claiming that X is a "defining" anything, it usually means that they have a big collection of X for sale. In this case, I imagine it's submarine marketing for the movie that's out.
Submarine? Astro-turf or native-advertising, maybe? Or perhaps I misunderstood.
I know the trend from the LiminalSpace subreddit. It's nice to scroll through, peaceful yet slightly unsettling. But I think a lot of that effect comes less from the physical "in-between-ness" of the spaces and more from the fact that they are places you would expect to have people, but which don't. The article notes this but only in passing. You never see a photo of a busy corridor, for example. They are always empt…
Maybe I'm slightly projecting my European sensitivities here, but I think there is more going on there than just the emptiness. There is a common theme that the spaces depicted are, on their own, quite unpleasant (barren, made from flimsy materials, probably emitting some amount of toxic fumes); it's just that this unpleasantness is normally masked by their human use and interpretation, which invariably some form of…
Its the combination of capitalism and lowest bidder architecture that is alienating to humans. And if humans are present, makes the space tolerable.
Remove the humans, and the space is off-putting, eerie and has a sense of dread.
And yeah, brutalism (usage of concrete as primary architecture) is also seen in the USA. And frankly, most of the buildings feel like prisons, and not where you want to go. Look no further than Indiana Univerity Hermann Wells library. https://maps.app.goo.gl/6FDvKR9sHSk3z8v56
Brutalist buildings feel directly hostile to humans, and not a vague sense of dread.
However I had the pleasure of seeing a brutalist hotel in Iceland (Fosshotel Vatnajokull) which combines concrete with wood. It felt sturdy and powerful, but also soft and welcoming. https://maps.app.goo.gl/wnXEawh2wptmQ3Rd7
But yeah, I do think youre on the right track. It really is related to capitalism and making horrible spaces (malls, etc). And without people, they are alienating and mild dread-inducing.