There used to be a theory in art college that many of the professors blandly bandied about like religious dogma. It was the theory of “aesthetics only.” This theory maintained that it did not matter whether a painting was of a landscape, a penis, or non-representational. A work of art could only be judged by aesthetic criteria.
The biggest problem with that theory is that it rarely holds true. A good example of this would be in comparing the work of Diego Riveria to the work of his wife, Frida Kahlo. Riveria was clearly a better painter, aesthetically. He had a far better sense of composition, and a keener sense of color than Kahlo. However, Riveria lacked Kahlo’s obsessive vision, and it is her vision that remains far more memorably etched in our conscience.
Another example which blows the “aesthetics only” theory out of the water would be in comparing D.W. Griffith to his one-time assistant Tod Browning. There is no doubt that, aesthetically, Griffith was a far more innovative and fluid director. However, Griffith lacked two important qualities which Browning had in spades: obsessive vision and pronounced human empathy. It is the latter of these two vivid Browning qualities that renders Griffith a grossly inferior artist when compared to the inimitable Tod Browning.
Browning was consistently drawn to and connected with the social outcast, while Griffith espoused his racial superiority and reprehensibly tidied that up in his protruding “aesthetics” chest. That Griffith was (and still is) celebrated, smacks of American and Hollywood hypocrisy and superficiality at its most blatant.
Of course, this is nothing new, nor is it confined to the film community. Conductor Rafael Kubelik was mercilessly attacked and driven out of Chicago Continue reading TOD BROWNING’S FREAKS (1932)