In a message dated 3/27/08 11:45:31 AM, [EMAIL PROTECTED] writes:

> But what if Miller's judgment is wrong?
>
How could Miller's judgment be "wrong"? The central point of Michael's
argument (below) is that judgments are only different -- that there is no
"fact of
the matter". Feels wrong to suggest he could be "wrong".

But what if Miller's judgment is wrong? He chastises the judgment of 
others--you know, curators--who pronounce works "excellent" and 
"great," but one he thinks are hideous, tendentious, hortatorical ... 
or just plain ugly.

To them (the curators), the works they choose to exhibit do embody 
"excellence" and "achievement," so for Miller to dispute that and to 
prefer his own choices of "things I consider excellent" is simply to 
replace their list with his.

It boils down to solipsism (Miller's list) or a popularity contest (do 
more people like Miller's list or the curator's list). And judging the 
works by dragging out a canon of standards that is literally centuries 
old doesn't help.

For one thing, if one used 19th century musical standards to judge 
compositions, that would categorically exclude jazz and other 20th 
century compositions generally judged to be accomplishments of great 
skill and even genius.

But beyond that, artists have always chosen to follow directions 
different from the old standards because they (the artists) wanted to 
produce works that they thought were equal to the old stuff, but were 
clearly outside the rules. How did sculpture get from the Archaic 
kouroi to the Hellenistic Apoxyomenos? from International Gothic style 
to the High Renaissance and then Mannerism? Way, way before the French 
Academy and the modern masters. The point that Greenberg made, btw, 
was that the Modernists tried to equal the accomplishments of the 
Great Masters in quality. They weren't flinging a paint-pot at the 
public just for the hell of it or as a grand egomaniacal gesture.

Miller's constant excoriation of Modernist art and his equally 
constant elevation of Academy standards of beauty and skill has the 
ring of a old style Catholic looking around for a Tridentine service, 
and I suspect his fervor comes very close to the sin of pride, namely, 
of false humility.





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