The curious concept that we've stumbled upon is know in Chinese philosophy as Yinyang. Put it this way... in the spectrum of art DaVinci would be placed on the far end of one side of the spectrum representing the pinnacle of high art, while Johanson would be placed on the far opposite end representing lowbrow art. In Yinyang terms, to illustrate their opposition in style, lets say DaVinci is represented by the white half of the circle and Johanson the black. Now the interesting part of the Yinyang is the little black dot inside of the white area and vice versa. This essentially means, as pertaining to our example, that inherent in the definition and nature of high art is lowbrow art and inherent in lowbrow art is high art. This is so because you cannot have one without the other... there is a secret dependence the two have with each other... a kind of pact that is essential for each. If you remove one from the equation the meaning and significance of the other ceases. Think of it like this way, if there were no Johanson's and everyone created art like DaVinci, Leonardo's art wouldn't be so interesting. What makes every great artist's work worth experiencing is its uniqueness. What is often forgotten is that the most unique artists are often the most knowledgable of art history. This is because they define themselves in opposition to other styles of art. And this in turn makes them even more inseparable from the Canon.
|Chris Johanson, 2002|