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It is not history. But I am beginning to wonder strongly what is the nature of history. Is it only memory in decent sentences, and if so, how reliable is it? I would suggest, not very. And that therefore most truth and fact offered by these syntactical means is treacherous and unreliable. And yet I recognise that we live our lives, and even keep our sanity, by the lights of this treachery and this unreliability, just as we build our love of country on these paper worlds of misapprehension and untruth. Perhaps this is our nature, and perhaps unaccountably it is part of our glory as a creature, that we can build our best and most permanent buildings on foundations of utter dust. ↗
Those of us who write and study history are accustomed to its approximations and ambiguities. This is why we do not take literally the tenth-hand reports of frightened and illiterate peasants who claim to have seen miracles or to have had encounters with messiahs and prophets and redeemers who were, like them, mere humans. And this is also why we will never submit to dictation from those who display a fanatical belief in certainty and revelation. ↗
[...] a familiar art historical narrative [...] celebrates the triumph of the expressive individual over the collective, of innovation over tradition, and autonomy over interdependence. [...] In fact, a common trope within the modernist tradition of the nineteenth and early twentieth centuries involved the attempt to reconstruct or recover the lost ideal of an art that is integrated with, rather than alienated from, the social. By and large, however, the dominant model of avant-garde art during the modern period assumes that shared or collective values and systems of meaning are necessarily repressive and incapable of generating new insight or grounding creative praxis. ↗
Artists use lies to tell the truth. Yes, I created a lie. But because you believed it, you found something true about yourself. ↗
