Friday, 4 November 2011

Olympic Posters Point to Dead Society

Spodges, twirls, blocks and funny colours.

The LOndon 2012 official posters were unveiled today and what a cacopohony.

The con that is "modern art" is there for all to see. The Empreror is stark, staring naked.

The "art" is as shoddy, shocking and vacuous as those post-60s roller discos that double-up as Catholic Churches.

Art, like Churches, used to stir the soul. Now in this kind of vomit-inducing form it just stirs the stomach.

Oh The Guardian love them with words like "the most effective posters" and "a winner" or what about "touching idealism" and "self-conscious sentimentality."

But these are the same brand of people who loved Vatican 2 and predicted the modernisation of the Church would fill the pews (just like they promise the same with "gay marriage" or married priests).

All modernism, in art and religion, does is wreck. It ruins what it touches because its soul is basically against Truth and Beauty, it is relativism writ large.

I am not English, hence the blog name, but if I were I would love to think someone would promote something inspirational and English, traditional and English, making England and her culture and history part of the Olympic ideal (how about a Celt, Viking, Saxon and Norman reaching out for the Olympic torch, or King Alfred's statue on a stadium backdrop, or the Olympic rings floating on a 'nice cup of tea'... They could be traditional, fun, self-effacing, proud or thought-provoking.

But please someone tell me what the squiggles, lines, blocks and swirls of modern art are supposed to tell me about England in 2012 other than it is a mess.

If they wish to stop drug-taking in the athletes, was it wise to use these images, many of which I imagine drug usage had a role in!

1 comment:

  1. "But please someone tell me what the squiggles, lines, blocks and swirls of modern art are supposed to tell me about England in 2012..."

    I think they suggest something of the variety of art in contemporary Britain. On the left is a fairly typical post Op-Art Bridget Riley piece which I think woud make a lovely design for a bedspread while, on the right, the Chris Offili design makes surprisingly sophisticated allusions to the Greek origins of the games evoking at once the kinds of images seen decorating the painted Greek vases which may be seen in the British Museum and, in the treatment of the figure,the kinds of Shaman figures seen in primitive African art. Of the two, Offili seems to have actually addressed the subject of the Olympic Games where Riley, as is often the case with abstract painters, seems to have simply produced another "Riley"- visually attractive but not necessarily to the point!