Chapter One
The Apache Dance
ALL THE MAJOR MODERN MOVEMENTS EXCEPT FOR DE STIJL, Dada, Constructivism, and Surrealism began before the First World War, and yet they all seem to come out of the 1920s. Why? Because it was in the 1920s that Modern Art achieved social chic in Paris, London, Berlin, and New York. Smart people talked about it, wrote about it, enthused over it, and borrowed from it. Borrowed from it, as I say; Modern Art achieved the ultimate social acceptance: interior decorators did knock-offs of it in Belgravia and the sixteenth arrondissement.
Things like knock-off specialists, money, publicity, the smart set, and Le Chic shouldn't count in the history of art, as we all know—but, thanks to the artists themselves, they do. Art and fashion are a two-backed beast today; the artists can yell at fashion, but they can't move out ahead. That has come about as follows:
By 1900 the artist's arena—the place where he seeks honor, glory, ease, Success—had shifted twice. In seventeenth century Europe the artist was literally, and also psychologically, the house guest of the nobility and the royal court (except in Holland); fine art and court art were one and the same. In the eighteenth century the scene shifted to the salons, in the homes of the wealthy bourgeoisie as well as those of aristocrats, where Culture-minded members of the upper classes held regular meetings with selected artists and writers. The artist was still the Gentleman, not yet the Genius. After the French Revolution, artists began to leave the salons and join cénacles, which were fraternities of like-minded souls huddled at some place like the Café Guerdons rather than a town house; around some romantic figure, an artist rather than a socialite, someone like Victor Hugo, Charles Nosier, Théophile Gautier, or, later, Edouard Manet. What held the cénacles together was that merry battle spirit we have all come to know and love: épatez la bourgeoisie, shock the middle class. With Gautier's cénacle especially . . . with Gautier's own red vests, black scarves, crazy hats, outrageous pronouncements, huge thirsts, and ravenous groin . . . the modern picture of The Artist began to form: the poor but free spirit, plebeian but aspiring only to be classless, to cut himself forever free from the bonds of the greedy and hypocritical bourgeoisie, to be whatever the fat burghers feared most, to cross the line wherever they drew it, to look at the world in a way they couldn't see, to be high, live low, stay young forever—in short, to be the bohemian.
By 1900 and the era of Picasso, Braque & Co., the modern game of Success in Art was pretty well set. As a painter or sculptor the artist would do work that baffled or subverted the cozy bourgeois vision of reality. As an individual—well, that was a bit more complex. As a bohemian, the artist had now left the salons of the upper classes—but he had not left their world. For getting away from the bourgeoisie there's nothing like packing up your paints and easel and heading for Tahiti, or even Brittany, which was Gauguin's first stop. But who else even got as far as Brittany? Nobody. The rest got no farther than the heights of Montmartre and Montparnasse, which are what?—perhaps two miles from the Champs Elysées. Likewise in the United States: believe me, you can get all the tubes of Winsor & Newton paint you want in Cincinnati, but the artists keep migrating to New York all the same . . . You can see them six days a week . . . hot off the Carey airport bus, lined up in front of the real-estate office
on Broome Street in their identical blue jeans, gum boots, and quilted Long March jackets . . . looking, of course, for the inevitable Loft . . .
No, somehow the artist wanted to remain within walking distance . . . He took up quarters just around the corner from . . . lemonde, the social sphere described so well by Balzac, the milieu of those who find it important to be in fashion, the orbit of those aristocrats, wealthy bourgeois, publishers, writers, journalists, impresarios, performers, who wish to be "where things happen," the glamorous but small world of that creation of the nineteenth-century metropolis, tout le monde, Everybody, as in "Everybody says". . . the smart set, in a phrase . . . "smart," with its overtones of cultivation as well as cynicism.
The ambitious artist, the artist who wanted Success, now had to do a bit of psychological double-tracking. Consciously he had to dedicate himself to the antibourgeois values of the cénacles of whatever sort, to bohemia, to the Bloomsbury life, the Left Bank life, the Lower Broadway Loft life, to the sacred squalor of it all, to the grim silhouette of the black Reorig Lower Manhattan truck-route internal combustion granules that were already standing an eighth of an inch thick on the poisoned roach carcasses atop the electric hot-plate burner by the time you got up for breakfast . . . Not only that, he had to dedicate himself to the quirky god Avant-Garde. He had to keep one devout eye peeled for the new edge on the blade of the wedge of the head on the latest pick thrust of the newest exploratory probe of this fall's avant-garde Breakthrough of the Century . . . all this in order to make it, to be noticed, to be counted, within the community of artists themselves. What is more, he had to be sincere about it. At the same time he had to keep his other eye cocked to see if anyone in le monde was watching. Have they noticed me yet? Have they even noticed the new style (that me and my friends are working in)? Don't they even know about Tensionism (or Slice Art or Niho or Innerism or Dimensional Creamo or whatever)? (Hello, out there!) . . . because as every artist knew in his heart of hearts, no matter how many times he tried to close his eyes and pretend otherwise (History! History!—where is thy salve? ), Success was real only when it was success within lemonde.
He could close his eyes and try to believe that all that mattered was that he knew his work was great . . . and that other artists respected it . . . and that History would surely record his achievements . . . but deep down he knew he was lying to himself. I want to be a Name, goddamn it!—at least that, a name, a name on the lips of the museum curators, gallery owners, collectors, patrons, board members, committee members, Culture hostesses, and their attendant intellectuals and journalists and their Time and Newsweek—all right!—even that!—Time and Newsweek— Oh yes! (ask the shades of Jackson Pollock and Mark Rothko!)—even the goddamned journalists!
During the 1960s this entire process by which le monde, the culturati, scout bohemia and tap the young artist for Success was acted out in the most graphic way. Early each spring, two emissaries from the Museum of Modern Art, Alfred Barr and Dorothy Miller, would head downtown from the Museum on West Fifty-third Street, down to Saint Marks Place, Little Italy, Broome Street and environs, and tour the loft studios of known artists and unknowns alike, looking at everything, talking to one and all, trying to get a line on what was new and significant in order to put together a show in the fall . . . and, well, I mean, my God—from the moment the two of them stepped out on Fifty-third Street to grab a cab, some sort of boho radar began to record their sortie . . . They're coming! . . . And rolling across Lower Manhattan, like the Cosmic Pulse of the theosophists, would be a unitary heartbeat:
Pick me pick me pick me pick me pick me pick me pick me . . . O damnable Uptown!
By all means, deny it if asked!—what one knows, in one's cheating heart, and what one says are two different things!
So it was that the art mating ritual developed early in the century—in Paris, in Rome, in London, Berlin, Munich,
Vienna, and, not too long afterward, in New York. As we've just seen, the ritual has two phases:
(1) The Boho Dance, in which the artist shows his stuff within the circles, coteries, movements, isms, of the home neighborhood, bohemia itself, as if he doesn't care about anything else; as if, in fact, he has a knife in his teeth against the fashionable world uptown.
(2) The Consummation, in which culturati from that very same world, le monde, scout the various new movements and new artists of bohemia, select those who seem the most exciting, original, important, by whatever standards—and shower them with all the rewards of celebrity.
By the First World War the process was already like what in the Paris clip joints of the day was known as an apache dance. The artist was like t he female in t he act, stamping her feet, yelling defiance one moment, feigning indifference the next, resisting the advances of her pursuer with absolute contempt . . . more thrashing about . . . more rake-a-cheek fury . . . more yelling and carrying on . . . until finally with one last mighty and marvelously ambiguous shriek—pain! ecstasy!—she submits . . . Paff paff paff paff paff. . . How you do it, my boy! . . . and the house lights rise and Everyone, tout le monde, applauds . . .
The artist's payoff in this ritual is obvious enough. He stands to gain precisely what Freud says are the goals of the artist: fame, money, and beautiful lovers. But what about le monde, the culturati, the social members of the act? What's in it for them? Part of their reward is t he ancient and semi-sacred status of Benefactor of the Arts. The arts have always been a doorway into Society, and in the largest cities today the arts—the museum boards, arts councils, fund drives, openings, parties, committee meetings—have completely replaced the churches in this respect. But there is more!
Today there is a peculiarly modern reward that the avant-garde artist can give his benefactor: namely, the feeling that he, like his mate the artist, is separate from and aloof from the bourgeoisie, the middle classes . . . the feeling that he may be from the middle class but he is no longer in it . . . the feeling that he is a fellow soldier, or at least an aide-de-camp or an honorary cong guerrilla in the vanguard march through the land of the philistines. This is a peculiarly modern need and a peculiarly modern kind of salvation (from the sin of Too Much Money) and something quite common among the well-to-do all over the West, in Rome and Milan as well as New York. That is why collecting contemporary art, the leading edge, the latest thing, warm and wet from the Loft, appeals specifically to those who feel most uneasy about their own commercial wealth . . . See? I'm not like them—those Jaycees, those United Fund chairmen, those Young Presidents, those mindless New York A.C. goyisheh hog-jowled stripe-tied goddamn-good-to-see-you-you-old-bastard- you oyster-bar trenchermen . . . Avant-garde art, more than any other, takes the Mammon and the Moloch out of money, puts Levi's, turtlenecks, muttonchops, and other mantles and laurels of bohemian grace upon it.
That is why collectors today not only seek out the company of, but also want to hang out amidst, lollygag around with, and enter into the milieu of . . . the artists they patronize. They want to climb those vertiginous loft building stairs on Howard Street that go up five flights without a single turn or bend—straight up! like something out of a casebook dream—to wind up with their hearts ricocheting around in their rib cages with tachycardia from the exertion mainly but also from the anticipation that just beyond this door at the top . . . in this loft . . .lie the real goods . . . paintings, sculptures that are indisputably part of the new movement, the new école, the new wave . . something unshrinkable, chipsy, pure cong, bourgeois-proof.
Excerpted from The Painted Word by Tom Wolfe.
Copyright © 1975 by Tom Wolfe.
Published in October, 2008 by Picador.
All rights reserved. This work is protected under copyright laws and reproduction is strictly prohibited. Permission to reproduce the material in any manner or medium must be secured from the Publisher.
