[djtango]

Thanks for the thoughtful reply. I think you've addressed to some degree what I was trying to think around. That art may be difficult to evaluate in its time. Monet may have been a counter culture artist in his time but today he has a somewhat universal appeal. Is that cultural? Are we now primed to like Monet because people have told us to like Monet?

No doubt in his time there were factions, those who pandered to the institution and those who fawned over innovation and originality. I'm sure these cycles occur in every present.

So then what will be remembered from our time? As you say a lot of today's art is esoteric and holding a conversation not all of us are privy to.

I also agree that to some extent we do now have the most art we ever could have. The internet and the creator economy has unlocked creativity in many ways. I recall some discussion the other day about the "hollowing out of the middle" in musical instrument proficiency, and more widely a lot of other skills. Technology and convenience has eradicated a need for many skills at a "mediocre" level but we also have more access to information and learning than ever before.

[Arkhaine_kupo]

> Monet may have been a counter culture artist in his time but today he has a somewhat universal appeal. Is that cultural? Are we now primed to like Monet because people have told us to like Monet?

The counter culture of his time was only because France had tried to make art be controlled from the top down. Part of the enlightenment was related to the idea that you could find "truth" in all forms through discovery like in science. So Aesthetics and language also became Prescriptive, where a central authority says what is right (just like science academy says what is right in science).

English for example is a non prescriptive language and there is no central authority, so english dictionaries describe how english is used not how english should be. France still has an academy of writers who says how French SHOULD be.

In the arts however the Salon failed, because art is not prescriptive and there is no right way to do art. Some people might work tirelessly to make a 200ft tall painting of virgin mary, and some might make a tiny postcard of a boat in their hometown and you cannot tell which one will move you from that description alone.

> So then what will be remembered from our time?

One of the main drivers of quality is influence. Its hard to tell what is good art when seeing it, but in 10 years when everything either looks like that or rejects that or responds to it in some way then that was good art. Bad art is forgotten.

So what will be remembered from our time is easy to know because things like the internet have accelarated cycles. People now get tired and move on to the next thing much faster.

So when people come back to hyper-pop, early, internet aesthetics almost 14 years later you know that it was good art (see 100 gecs, charli xcx, sophie). When more bands start being mysterious, adding lore through internet channels, adding metal and noise influences into hiphop you can tell Death Grips was good art.

In more traditional art you have an entire wave of artists now who are hyper sensible, honest and earnest. This is a rejection of artist like Koons or Hockney with their hyper capitalist "it sells" attitude that dominated post Warhol. That means those were good artist if everyone know wants to not be like them.

What wont be rememebred would be the awful graffitis facebook paid to have in their offices, or the Beeple NFT art that sold for millions at auction. Because it moved no one, it means nothing and it largely for headlines to move stock prices and nothing else. No one even hates that art, its just completely ignored as irrelevant.