Yes, and this is also a unique aesthetic of a place. I see this and I know it's the US. Refinement culture makes every place of the world look the same.
He's probably photographed it, but one of the biggest and the pinnacle of this idea, I think, is the Longaberger building in Ohio. If he did photograph it, I think it should have been among the ones listed in the article. Of course it's not as "folksy" as the others but it's in the same vein though greater in scale.
Blame the suburbs and communism - those are the two driving factors there.
Suburbs: everything has to be standardized and made efficient for global supply chains. Private equity is just the mechanism to achieve that. Want better food and produce? Stop going to McDonald’s, Costco, and Starbucks in your Jeep Gladiator. Also need to stop wasting so much taxpayer dollars on these useless, endless highways that destroy local economies and entrepreneurship and spread us out so we are reliant on cars.
Communism: everything must be “modern”, bland, and sterile. Andy Warhol. Banksy. Tape a banana to the wall and stare at it in your all black jumpsuit. All bright, white fluorescent. Nothing out of the ordinary or quirky, no individuality, all chains, all the same style.
You can still have consumerism with a divergence of style. You just can't have large concentration of wealth in select businesses and high cost of entry.
This kind of style comes out when there is high compeition and an economy that can support experimentation.
It’s ideologically related and, unfortunately with our McDonald’s level standards of art and culture it passes for something akin to artwork.
You’ll find Flower Thrower at your local IKEA or hung in the bathroom of Chipotle. They wouldn’t be caught dead hanging actual art from, say, Renoir though. The focus is to destroy originality, destroy individuality, destroy religion, and promote sterilization (not of people, though of course in some cases authoritarian ideologies like this do promote such insanity) and mass production.
It’s all the same communist ethos. Not everyone agrees, and you’re certainly free to disagree of course, it’s just my opinion.
Your rant seems confused from an art history point of view.
I think we should talk about the Bauhaus and where they were coming from. Industrial mass production allowed for cheaply mass produced ornaments during Historicism. To me it is easily understandable why the Bauhaus wanted to find a different approach to how to deal with industrialization and how to incorporate it into architecture, going away from mere imitation and copying. I think it’s extremely fascinating that those ideas took root in the Soviet Union (creating utilitarian living spaces on a mass scale) and the USA (office buildings).
Many contemporary artists, however, have very little or nothing to do with Bauhaus and its ideas at all. There is just no link connecting them … and while the Soviet Union did employ industrialized mass production to build living spaces without ornaments its art was more often than not Socialist Realism, which is a different beast altogether.
But I do recommend you read Asylum for the Homeless by Adorno because I think you might like it: “Actually one can no longer dwell any longer. The traditional dwellings, in which we grew up, have taken on the aspect of something unbearable: every mark of comfort therein is paid for with the betrayal of cognition; every trace of security, with the stuffy community of interest of the family. The newly functionalized ones, constructed as a tabula rasa, are cases made by technical experts for philistines, or factory sites which have strayed into the sphere of consumption, without any relation to the dweller: they slap the longing for an independent existence, which anyway no longer exists, in the face.”
You're so wrong that you're right again. The US funded and promoted modern art as a counterpoint to communism. There was even a submission about it a few weeks ago on here. [0]
> Nothing out of the ordinary or quirky, no individuality, all chains, all the same style.
One could say the same about capitalism/consumerism. In fact, many creatives have done so over the years. Bland and bleak life in the suburbs is a common theme. "Broad lawns and narrow minds" as Hemingway might have called it. So is the forlornness of a nondescript white-collar cubicle job. Even recently, the Backrooms taps into this.
The Octopus Carwash is one of my early memories from trips to the twin cities, probably the first time I have seen it or thought about it in 40 years. Kind of weird to stumble on that after all these years, I opened the link curious if there would be anything from my Minnesota childhood but did not expect that.
One of the ideas put forward in Neil Gaiman's American Gods is that roadside attractions, "Biggest X", collections of whimsy happened where they happened because they were ancient places of power, and people felt inexplicably drawn to them and to set up somewhere people would explore and worship, if not literally, with their attention and energy. Gods could recharge there.
Haha I knew Bob's Java Jive was going to be on there. Wasn't expecting the buffalo from Jamestown, ND.
Here's a good one from my hometown https://www.atlasobscura.com/places/tommy-the-turtle
And then drive about 20 miles east and you hit this guy https://www.atlasobscura.com/places/w-eel-turtle
And then drive 30 miles north and you hit the original https://www.atlasobscura.com/places/tommy-the-turtle-boissev...
I'm pretty sure the Java Jive is still around. Or at least it was, 10 years ago.
I love this. We need more whimsy. Unfortunately, refinement culture is taking over. Even the new McDonald's design is "private equity" refined.
Yes, and this is also a unique aesthetic of a place. I see this and I know it's the US. Refinement culture makes every place of the world look the same.
He's probably photographed it, but one of the biggest and the pinnacle of this idea, I think, is the Longaberger building in Ohio. If he did photograph it, I think it should have been among the ones listed in the article. Of course it's not as "folksy" as the others but it's in the same vein though greater in scale.
https://en.wikipedia.org/wiki/The_Longaberger_Company
The Longaberger Building, the giant picnic basket, is for sale, and currently abandoned.[1]
[1] https://www.youtube.com/watch?v=6F6n_xlckNE
Blame the suburbs and communism - those are the two driving factors there.
Suburbs: everything has to be standardized and made efficient for global supply chains. Private equity is just the mechanism to achieve that. Want better food and produce? Stop going to McDonald’s, Costco, and Starbucks in your Jeep Gladiator. Also need to stop wasting so much taxpayer dollars on these useless, endless highways that destroy local economies and entrepreneurship and spread us out so we are reliant on cars.
Communism: everything must be “modern”, bland, and sterile. Andy Warhol. Banksy. Tape a banana to the wall and stare at it in your all black jumpsuit. All bright, white fluorescent. Nothing out of the ordinary or quirky, no individuality, all chains, all the same style.
You can still have consumerism with a divergence of style. You just can't have large concentration of wealth in select businesses and high cost of entry.
This kind of style comes out when there is high compeition and an economy that can support experimentation.
Banksy is an intelligence project. Related is Jackson Pollock.
Is the communism in the room with us now?
Do you mean modernism? You most likely mean modernism. Yes, it sucks.
Banksy is part of "communism"? Consider me skeptical.
It’s ideologically related and, unfortunately with our McDonald’s level standards of art and culture it passes for something akin to artwork.
You’ll find Flower Thrower at your local IKEA or hung in the bathroom of Chipotle. They wouldn’t be caught dead hanging actual art from, say, Renoir though. The focus is to destroy originality, destroy individuality, destroy religion, and promote sterilization (not of people, though of course in some cases authoritarian ideologies like this do promote such insanity) and mass production.
It’s all the same communist ethos. Not everyone agrees, and you’re certainly free to disagree of course, it’s just my opinion.
Your rant seems confused from an art history point of view.
I think we should talk about the Bauhaus and where they were coming from. Industrial mass production allowed for cheaply mass produced ornaments during Historicism. To me it is easily understandable why the Bauhaus wanted to find a different approach to how to deal with industrialization and how to incorporate it into architecture, going away from mere imitation and copying. I think it’s extremely fascinating that those ideas took root in the Soviet Union (creating utilitarian living spaces on a mass scale) and the USA (office buildings).
Many contemporary artists, however, have very little or nothing to do with Bauhaus and its ideas at all. There is just no link connecting them … and while the Soviet Union did employ industrialized mass production to build living spaces without ornaments its art was more often than not Socialist Realism, which is a different beast altogether.
But I do recommend you read Asylum for the Homeless by Adorno because I think you might like it: “Actually one can no longer dwell any longer. The traditional dwellings, in which we grew up, have taken on the aspect of something unbearable: every mark of comfort therein is paid for with the betrayal of cognition; every trace of security, with the stuffy community of interest of the family. The newly functionalized ones, constructed as a tabula rasa, are cases made by technical experts for philistines, or factory sites which have strayed into the sphere of consumption, without any relation to the dweller: they slap the longing for an independent existence, which anyway no longer exists, in the face.”
You're so wrong that you're right again. The US funded and promoted modern art as a counterpoint to communism. There was even a submission about it a few weeks ago on here. [0]
> Nothing out of the ordinary or quirky, no individuality, all chains, all the same style.
One could say the same about capitalism/consumerism. In fact, many creatives have done so over the years. Bland and bleak life in the suburbs is a common theme. "Broad lawns and narrow minds" as Hemingway might have called it. So is the forlornness of a nondescript white-collar cubicle job. Even recently, the Backrooms taps into this.
[0] https://news.ycombinator.com/item?id=49428080
The Octopus Carwash is one of my early memories from trips to the twin cities, probably the first time I have seen it or thought about it in 40 years. Kind of weird to stumble on that after all these years, I opened the link curious if there would be anything from my Minnesota childhood but did not expect that.
The LOC has a nice presentation of the complete collection two clicks away from the submitted link:
https://storymaps.arcgis.com/stories/e31fca375f7a471a9a2e2cd...
via https://guides.loc.gov/roadside-america-photographs?loclr=fl...
via submitted link.
I was certain the collection had to have Lucy the Elephant and indeed it does:
https://www.loc.gov/item/2017712086/
https://lucytheelephant.org/
https://www.loc.gov/item/2017712086/
Full moon over Margate.
To anyone who loves these, add this to your playlist:
Otis Gibbs - Great American Roadside
One of the ideas put forward in Neil Gaiman's American Gods is that roadside attractions, "Biggest X", collections of whimsy happened where they happened because they were ancient places of power, and people felt inexplicably drawn to them and to set up somewhere people would explore and worship, if not literally, with their attention and energy. Gods could recharge there.