{"id":99655,"date":"2016-06-23T09:00:50","date_gmt":"2016-06-23T13:00:50","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=99655"},"modified":"2016-06-23T13:13:17","modified_gmt":"2016-06-23T17:13:17","slug":"art-for-art-blast-furnaces-for-truth-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/23\/art-for-art-blast-furnaces-for-truth-and-other-news\/","title":{"rendered":"Art for Art, Blast Furnaces for Truth, and Other News"},"content":{"rendered":"<div id=\"attachment_99659\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/640px-red_onion_rings_closeup-e1466634230134.jpg\" rel=\"attachment wp-att-99659\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99659\" class=\"wp-image-99659 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/640px-red_onion_rings_closeup-e1466634230134.jpg\" alt=\"640px-Red_onion_rings_closeup\" width=\"600\" height=\"470\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/640px-red_onion_rings_closeup-e1466634230134.jpg 600w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/640px-red_onion_rings_closeup-e1466634230134-300x235.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99659\" class=\"wp-caption-text\">A wonderful thing.<\/p><\/div>\n<ul>\n<li>\u201cArt! <i>Huh<\/i>. What is it good for? <i>Absolutely nothin\u2019<\/i>.\u201d That\u2019s one view, anyway, one that gained currency in Europe in the nineteenth century. But where does the defense of <i>l\u2019art pour l\u2019art<\/i> stand today? \u201c<a href=\"http:\/\/www.nytimes.com\/2016\/06\/26\/books\/review\/is-the-idea-of-art-for-arts-sake-a-sign-of-social-privilege.html\" target=\"_blank\">Since art categorizable as \u2018art for art\u2019s sake\u2019 is usually produced tangentially to hopes of making money<\/a>, of reaching a large audience or of being immediately useful, it tends to be the darling of the many-degreed. And because art takes time to make, its makers are often those with a luxury of time\u2014usually the wealthy, occasionally the poor. But there is a way in which art for art\u2019s sake is the art most open to all comers, and the most (potentially) ethical.\u201d<\/li>\n<\/ul>\n<ul>\n<li>If you\u2019re moved by the notion that art need serve no master other than itself, then you will all but certainly cheer the news that <a href=\"https:\/\/www.theguardian.com\/books\/2016\/jun\/22\/unesco-lists-exeter-book-among-worlds-principal-cultural-artefacts\" target=\"_blank\"><small>UNESCO<\/small> has designated the Exeter Book<\/a> as\u00a0\u201cthe foundation volume of English literature, one of the world\u2019s principal cultural artefacts.\u201d The book, a tenth-century anthology of Old English verse, include poems such as \u201cThe Seafarer,\u201d \u201cThe Wanderer,\u201d and \u201cChrist I,\u201d which gave J. R. R. Tolkien the name for Middle Earth. But it also includes riddles, including <a href=\"https:\/\/en.wikisource.org\/wiki\/Anglo-Saxon_Riddles_of_the_Exeter_Book\/74\">this lusty tribute<\/a> to, well, not what you\u2019re thinking: \u201cI\u2019m a wonderful thing, a joy to women, \/\u00a0to neighbors useful. I injure no one \/\u00a0who lives in a village save only my slayer. \/\u00a0I stand up high and steep over the bed; \/\u00a0underneath I\u2019m shaggy. Sometimes ventures \/\u00a0a young and handsome peasant\u2019s daughter, \/\u00a0a maiden proud, to lay hold on me. \/\u00a0She seizes me, red, plunders my head, \/\u00a0fixes on me fast, feels straightway \/\u00a0what meeting me means when she thus approaches, \/\u00a0a curly-haired woman. Wet is that eye.\u201d<\/li>\n<\/ul>\n<ul>\n<li>It\u2019s easy enough to blame economics and technology for the death of the weirdo local record stores of yore. But what if the real culprit is philosophical? \u201c<a href=\"http:\/\/www.newyorker.com\/culture\/cultural-comment\/why-record-stores-mattered?intcid=mod-latest\" target=\"_blank\">Genre itself\u2014or, more specifically, genre affiliation as a means of self-identification<\/a>\u2014feels like another End hovering in the atmosphere this week. No one is asked to choose one affiliation at the expense of another. Instead, it is perfectly normal, even expected, that a person might have a little bit of everything stacked up in her digital library. The idea of \u2018Other Music\u2019 as it was conceived in 1995 is unknowable now.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Speaking of philosophy, if there\u2019s one thing I\u2019ve always appreciated about blast furnaces, it\u2019s their unyielding\u00a0passion for truth. I was glad to learn\u00a0that the photographers Bernd and Hilla Becher agree: \u201c<a href=\"https:\/\/www.thenation.com\/article\/15-short-texts-in-search-of-hilla-becher\/\" target=\"_blank\">In 2008, Hilla was asked, \u2018But why furnaces and conveyor belts?<\/a>\u2019\u00a0She replied: \u2018Because they are honest. They are functional, and they reflect what they do\u2014that is what\u00a0we liked. A person always is what s\/he wants to be, never what s\/he is. Even an animal usually plays a role in front of the camera &#8230; We studied this anonymous architecture, object after object, until we understood the enormous variety of the subject &#8230; We learned how blast furnaces worked, how they were constructed, what parts they had\u00a0&#8230;\u00a0And then it was easier to find out whether there was a front and back. At some stage we asked ourselves: Does a blast furnace have a face?\u2019 \u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>\u201cArt! Huh. What is it good for? Absolutely nothin\u2019.\u201d That\u2019s one view, anyway, one that gained currency in Europe in the nineteenth century. But where does the defense of l\u2019art pour l\u2019art stand today? \u201cSince art categorizable as \u2018art for art\u2019s sake\u2019 is usually produced tangentially to hopes of making money, of reaching a large [&hellip;]<\/p>\n","protected":false},"author":960,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[],"class_list":["post-99655","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Art for Art, Blast Furnaces for Truth, and Other News by Robert P. Baird<\/title>\n<meta name=\"description\" content=\"June 23, 2016 \u2013 \u201cArt! Huh. What is it good for? Absolutely nothin\u2019.\u201d That\u2019s one view, anyway, one that gained currency in Europe in the nineteenth century. But where does\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/23\/art-for-art-blast-furnaces-for-truth-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Art for Art, Blast Furnaces for Truth, and Other News by Robert P. Baird\" \/>\n<meta property=\"og:description\" content=\"June 23, 2016 \u2013 \u201cArt! Huh. What is it good for? Absolutely nothin\u2019.\u201d That\u2019s one view, anyway, one that gained currency in Europe in the nineteenth century. But where does\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/23\/art-for-art-blast-furnaces-for-truth-and-other-news\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2016-06-23T13:00:50+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-06-23T17:13:17+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/640px-red_onion_rings_closeup-e1466634230134.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"470\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Robert P. 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