The Tino Seghal experibit at the Guggenheim that I referenced in last week's post put me in the mood for lighthearted but serious-minded philosophical discussion; and the audience-participation exercise at the beginning of this month was so fascinating and fun, I thought it could be fun to try something like that again. So I'm going to post below one of my favorite manifestos -- Oscar Wilde's preface to The Picture of Dorian Gray -- choose a line, and comment upon it in the comments; and I hope you too will pick out a line, mull it over a bit, and say whether you agree or disagree with it and why. Again, there are no right or wrong answers, just interesting human responses.
And for the record, when I say this is one of my favorite manifestos, that's because to me it is the perfect match of form and content, completely embodying itself: It is clever, and beautiful (it sounds good, especially when read aloud), and delightful, and conscience-free, because its only interest is in its own cleverness, beauty, and delight. But I am not sure it is right or true, because I don't think Wilde was necessarily interested in right or truth; or, at least, they were lower on his priority list than the clever and the beautiful. . . . And lord, I have already begun my comment! So here's the manifesto. The italics on the last line are Wilde's.
by Oscar Wilde
The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things.
The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.
Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty.
There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.
The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass.
The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium.
No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything.
Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril.
Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.
All art is quite useless.