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280 pages, Hardcover
Published January 1, 2017
The hope is that, by a circuitous route, these values will become – even if only a little – more powerful in reality. In the ideal scenario, they will radiate out from the gallery and shape the way we lead our lives. Yet the money that paid for them may have been accumulated under a very different vision of life: workers were paid the least possible amounts; only the responsibilities enforced by law were embraced; governments were lobbied to reduce consumer and environmental protection; quality was reduced as low as the market would allow; debts were paid slowly but creditors were hounded. Oddly, in their business, the artistic philanthropist had the opportunity to make real – on a large scale – the qualities they subsequently sought to honour in their gifts. Yet very often they did not. It would be better to repatriate the ambition and for the capitalists to be themselves the agents of the virtues they admire in the arts. The cost (in terms of cash) might be approximately the same. Their businesses might be a little less profitable year by year and they might not feel they had enough left over to lavish on the arts. But it would be no loss, for instead of hanging reticently on a wall, those values so ably captured in art – of friendship, love, wisdom and beauty – would be enacted day to day in the boardroom and the canteen, the distribution centre and the factory – in other words, in the vastly more consequential realm of commerce itself.
What singles out ‘bad taste’ is merely that the desire for compensation has grown particularly acute because the deprivation has been correspondingly intense. Those who have experienced crushing poverty will, if the opportunity arises, often adopt a gaudy style derived from the most gilded aspects of the palace of Versailles. Those whose lives are excessively harsh may favour garden gnomes, enormous and brightly coloured stuffed toys and sentimental trinkets. In every instance of bad taste, we find an over-eager embracing of a good quality – sweetness, freedom, fun or prosperity – that is, or once was, in very short supply in the owner’s life. Bad taste can appall, but once one understands its origins, sympathy is a more appropriate response. What is ‘bad’ in bad taste is not the person, but the prior difficulty for which they are seeking to compensate through their décor. There is no point in mocking or offering lectures about art history. The problem isn’t a lack of information. It is a trauma created by a badly broken and unbalanced world. Therefore, the solution to bad taste is, in the broad sense, political. Good taste comes about when people feel appreciated, when there’s enough to go around and when there’s an economy that doesn’t routinely humiliate and abase its members. To make good taste more widespread, what matters above all are efforts to diminish the desperate lives in which lapses of taste invariably have their origins.