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A manifesto and impassioned plea for artistic excellence
When he attended The Cooper Union in the late 1960s, artist Robert Florczak navigated a world of avant-garde experimentation, where modern art reigned supreme. Yet, within this bastion of innovation, and surrounded by cutting-edge, conceptual art, he, along with a few like-minded peers, quietly questioned the legitimacy of the contemporary masterpieces celebrated in the school's corridors and found himself at odds with the prevailing trends. Now, in Good Art/Bad Art, Florczak unveils a critical exploration of the art world, providing a lucid guide for those who believe in the enduring standards of artistic excellence.
But Florczak's narrative extends beyond his personal journey. He shines a spotlight on the intimidation faced by art enthusiasts today—a fear to challenge the prevailing elitist "art establishment." Florczak dismantles the arguments for much of today's art, providing common-sense counterpoints to empower those who seek clarity amid the confusion.
In a century where art history has been dominated by those distant from the artist's perspective, Florczak advocates for a shift in focus. He argues for acknowledging an Ideal in art, one that transcends history, culture, and passing fads—a visual best that a society can accomplish. Good Art/Bad Art urges us to evaluate art not just through the lens of historians and critics but from the artist's viewpoint.
To unravel the mystery of what makes art visually great, Florczak introduces a simple, clear, and rational method for understanding and evaluating art. Rooted in aesthetics, these enduring standards cut through the complexities of "explanations," "statements," and "theories," establishing excellence or exposing artistic missteps.
Good Art/Bad Art provides readers with a visual journey, exploring both exemplary and questionable works of art. From the celebrated masterpieces of the past to the often-ignored gems of the present, Florczak delves into the world of art as perceived by its own respective eras. Accompanied by illuminating quotes from artists, his selections aim to provoke thoughtful reflection.
Good Art/Bad Art is more than a book—it is a cultural manifesto. Florczak champions the cause of excellence in art, urging readers to defend it with sound, rational arguments. In an era where the art establishment veers towards inanity, offensiveness, and poor execution, this book stands as a guide for anyone who believes in the profound importance of preserving artistic standards.
When he attended The Cooper Union in the late 1960s, artist Robert Florczak navigated a world of avant-garde experimentation, where modern art reigned supreme. Yet, within this bastion of innovation, and surrounded by cutting-edge, conceptual art, he, along with a few like-minded peers, quietly questioned the legitimacy of the contemporary masterpieces celebrated in the school's corridors and found himself at odds with the prevailing trends. Now, in Good Art/Bad Art, Florczak unveils a critical exploration of the art world, providing a lucid guide for those who believe in the enduring standards of artistic excellence.
But Florczak's narrative extends beyond his personal journey. He shines a spotlight on the intimidation faced by art enthusiasts today—a fear to challenge the prevailing elitist "art establishment." Florczak dismantles the arguments for much of today's art, providing common-sense counterpoints to empower those who seek clarity amid the confusion.
In a century where art history has been dominated by those distant from the artist's perspective, Florczak advocates for a shift in focus. He argues for acknowledging an Ideal in art, one that transcends history, culture, and passing fads—a visual best that a society can accomplish. Good Art/Bad Art urges us to evaluate art not just through the lens of historians and critics but from the artist's viewpoint.
To unravel the mystery of what makes art visually great, Florczak introduces a simple, clear, and rational method for understanding and evaluating art. Rooted in aesthetics, these enduring standards cut through the complexities of "explanations," "statements," and "theories," establishing excellence or exposing artistic missteps.
Good Art/Bad Art provides readers with a visual journey, exploring both exemplary and questionable works of art. From the celebrated masterpieces of the past to the often-ignored gems of the present, Florczak delves into the world of art as perceived by its own respective eras. Accompanied by illuminating quotes from artists, his selections aim to provoke thoughtful reflection.
Good Art/Bad Art is more than a book—it is a cultural manifesto. Florczak champions the cause of excellence in art, urging readers to defend it with sound, rational arguments. In an era where the art establishment veers towards inanity, offensiveness, and poor execution, this book stands as a guide for anyone who believes in the profound importance of preserving artistic standards.
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