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Philosophy Faculty Research and Publications Philosophy, Department of

1-1-2013 Li Song: The ecD ay of the Sublime Curtis L. Carter Marquette University, [email protected]

Published Version. "Li Song: The eD cay of the Sublime," in Li Song: The Decay of the Sublime. Beijing: Shi Jie Zhi Shi Chu Ban She, 2013: 13-28. © 2013 Shi Jie Zhi Shi Chu Ban She. Li Song "The Decay Coming from Heilong Jiang Province in North East China with brief training in the art school in Harbin, the Chinese painter Li Song (1965-... ) began of the Sublime" his career as a mainly self-taught artist. His paintings thus have little in common with the formal elements of either traditional Chinese painting or much of the avant-garde developments in Chinese art after the 1980s.

In some respects his art bears resemblance in its clarity and freshness of Curtis L. Carter renderings of its subjects to the Northern European tradition of oil painting (Professor of Marquette University, such as is found in' the Dutch painter Johannes Vermeer. For example, In President of IAA) Vermeer's "Woman Holding a Balance," (c.1664) the figure is placed in proximity to a Painting of "The Last Supper." On the table are objects of gold and pearls. These two symbolic in Vermeer's picture symbolize the two main forces of religion and commercial prosperity at work in the Delft

of Vermeer's time. 1

In contrast to Vermeer, Li Song's paintings exhibit a fertile grounding in key symbols that help define Chinese culture: the tiger, the horse, the pomegranate, for example. The tiger, known as the "King of the Mountain," is one of the most powerful symbols of ancient Chinese culture as it exemplifies brute strengfh, even violence. The horse, a natural companion in war, agriculture and human mobility, is a symbol of energy, power, and beauty. And the pomegranate represents fertility. Li Song invokes these symbols, along with others, as one means of establishing his identity in the context of Chinese art. With these symbols he references important cultural meanings apropos of both traditional and contemporary Chinese culture. The references are often subtle, and the resonances set into play in his paintings echo traditional meanings while expressing symbolically the changes and turmoil of contemporary

1 Arthur Wheelock , Ver(l7eer and the ;Art of Pai(lti{1g (New Haven and London, 1995)

13 Chinese life. Both artists share an interest in bright colors to enliven their respective canvases.

Where then to locate Li Song's art in the pantheon of art historical or contemporary art contexts? Realism surely is a consideration as it points to the artist's impeccable ability to create images that connect with the real, as we might imagine it exists. His work does not fit the period style associated with the term Realism in the European art of the 1850s to 1880s with its positivist concern with scientific objectivity. With an eye that challenges the best of camera lenses, and a hand that renders even the subtlest minutiae of materiality in his subjects with the greatest of technical achievement and clarity, Li Song brings to his art a level of technical virtuosity that in itself is less appreciated in the art of today than in past generations of art history. This talent, while admirable would not be sufficient to command critical attention in the complex global art world of today. As the works shown in this exhibition, and the artist's past creations demonstrate, there is no need for concern. Li' Song's gifts extend their critical and aesthetic powers of observation to include a full range of expressiveness and conceptual depth that warrants our appreciation and respect.

Hence, his creations are not content with remaining within in the boundaries of any Realism that relies mainly on mimesis and is confined to merely visual representations based on observing the physical appearance of his subjects. Indeed, his imagination knows few limits as he paints a tiger or a horse poised on the edge of a lit candlestick. And who (perhaps other than Rene "Magritte) would have thought of a flaming matchstick fed by its own materials as the subject for a painting?

14 .'

Arguably Li Song's art bears resemblances to Surrealism as well. Beginning in the 1920s, as represented in the manifestos of Andre Breton, (1924,1930 and 1934), Surrealism developed in two distinct directions, autonomistic and veristic, with many variations among the artists who chose to work under the label, or were so designated in art history and criticism. The autonomist group mainly followed Surrealism as defended in the Manifestos of Breton. Breton understood Surrealism as favoring the anti-rational unconscious over consciousness as a source for imagery over connections tb the external world. The veristic surrealists (Salvador Dali, Rene Magritte, and Max Ernst) opted to produce images of meticulous realistic detail intended to establish a link between the world of dreams

and the external world of objects and people. 1

Li Song's affinities to Surrealisim would be more with the veristic than the autonomist Surrealists. His images mainly reflect direct engagement with the material objects of the external world and attention to the minute details of the real. However,. the attention given to the external world in Li Song's paintings does not necessarily rely on their being linked to matching images discovered in dreams. At least, in my mind, the manner of treatment of the external world depicted in Li Song's paintings is mainly based on the engagement of a keenly observant rational mind with the materiality of the objects rendered.

There are other features of his art which Li Song holds in common with the Surrealists. For example, he does not spare the viewers images that might be disturbing or shocking. Even when attending closely to details of the external world, he does not hesitate to alter the contexts for

1 See for example, Andr e Breton ,Mmifeste du SUfn} a/is(fle, (Paris : edt ions du Sagittaire, 1924) . Also Breton , La situation du surr e a/is(71e entre /es deux guerres, (Paris: Editions de la Revue Fontaine, 1945) .

15 experiencing ordinary objects, or create unexpected juxtapositions.

In this process the literal significance of the chosen objects is transformed so as to create compelling metaphors. For example, his treatment of the pomegranate passes through renderings that appear as elegant and perfect visual forms rendered in shades of color modulating from bright reds to gold and greens. Delicately formed drops of condensed moisture suspended on the curved surface of the pomegranate fruit literally hold the viewer's perception in suspension captured by the sheer beauty of the moment. Other of Li's paintings show us the inner fruits of the pomegranate, discarded and ripped open, as it is exposed to alternate forces of nature. At once, the exposed pomegranate appears vulnerable to appetites of the attending creatures of the sea. On another occasion Li Song positions the opened pomegranate fruit shell in proximity to a sleeping tiger who rests suspended across the space also occupied by the pomegranate fruit. In another painting the pomegranate is ravished by the tiger's aggressive invasion into its ripped open interior. The intersection of these two pregnant symbols, the pomegranate representing fertility and the tiger standing for power, invites imaginative speculation without attributing any particular meaning to its conceptual content.

Moving on to other possible theoretical frameworks for understanding Li Song's art, there is Magic Realism, a term introduced in 1925 by Franz Roh to refer to Post-expressionist art changes in Western art of the early twentieth century. 1According to Roh, Magic Realism restored the objects into painting that had been lost to abstraction. At various moments, Magic

1 Franz Roh, " Magical Realism : Post Expressionism, " Trans.Wendy B.Faris (Durham,N . C. : Duke University Press,1995) .See also Dorothy Miller and Alfred Barr ,A(1'1eric8(1 Realists and Magic Realis(1'1 (New York: Museum of Modern Art, 1943) .

16 Realism has embraced such diverse stylistic developments as Neue Sachlichkeit art in Germany (Otto Dix and George Gross) as well as the works of such artists as the Italian Giorgio de Chirico and the French Henri Rousseau. But a concept w;th so much range allowing for such a broad inclusiveness where important stylistic differences are evident gives us at best a very broad, if interesting set of parameters.

Broadly speaking since art making has always been a conceptual practice for artist's, it useful to ask, in what sense is the artist's practice conceptual? The philosopher Ernst Cassirerproposes a distinction between conceptual in the sense of what is discovered by science consisting of understanding the reasons for things, and a second sense of conceptual consisting in seeing the forms of things. The latter is the conceptual domain of the artist according to Cassirer. 1

Simply stated, Conceptual Realism understands realistic painting as a means of communicating thought in the contemporary art world. It values craftsmanship and the ability to draw and paint without the benefit of photography or computer. Hence it remains to consider briefly what understanding might be offered by this critical label of Conceptual Realism to Li Song's paintings. Magic Realism refers to representational art mixed with elements of fantasy and executed with attention to detail and sharp focus. It focuses on the unexpected, laced with mystery and ambiguity. To this extent, this concept seems to address important aspects of Li Song's paintings.

On another level, Magic Realism in reference to Li Song's paintings is useful in distinguishing his contributions to contemporary art from those

1 Ernst Cass irer ,An Essay 0(1 Man , Chapter g, (New Haven and London: Yale Uni versity Press, 1944,1962)

17 more closely connected to modern avant garde and post-modern art of recent times. In these respects, he appears to abandon modern abstraction and much of the conceptual art legacies, introduced by Marcel Duchamp, Nam June Paik's new media art, and digital art of the late Twentieth century. Although literate in the concepts of modern and contemporary art, Li Song and others who identify with Conceptual Realism choose realist drawing and painting as a contemporary medium. Perhaps Conceptual Realism can be understood as a response to the increasingly technological world of digitalized imagery that has led artists such as the Chinese media artist Feng Meng Bo to turn off his computer and turn to mastery of Chinese ink paintings.

In some respects then, Li Song's paintings exhibit salient features of Conceptual Realism. He values craftsmanship and exemplifies realism as the grounding of his paintings and as a means of communicating his ideas. As we have noted previously, Li Song also references European old master tradition and Twentieth Century Surrealism. At the same time, his vision is "unconventional, personalized, and idiosyncratic.,,1 Both his choices of subjects and their execution are to be acknowledged first, for their own particular features and intrinsic merit based on the quality of experiences that they offer to the viewers.

In order to consider some of these qualities I will turn briefly to a closer examination of a selection of the paintings. First, a return to the tiger images. These images occupy a large body of paintings in the current exhibition. Hence I take it that the tiger images have a special meaning for Li Song. The tiger is shown in a variety of natural poses in prowl

1 Meredith McNeal , Commenting on an exhibition of Conceptual Realism at the BRIC Rotunda Gallery, Brookl yn , N. Y . 2004 .

18 mode, reclining with a mate, and also in some not so natural. The latter represent especially interesting forays of the artist's imagination. For example, a tiger is poised with all four paws standing on glass balls. Other of his paintings show the tiger balanced in mid-air on a trapeze bar that glows with florescent light, or perched on the edge of a lit candle. Approaching the human domain, we find the tiger intertwined with women's clothes. On another occasion, the tiger ponders a seated human baby, while disembodied human genitals occupy the ground below the standing tiger. Given the v'isual clues available to the viewer, the scene benefits from a certain ambiguity. The narrative possibilities of the scene engage our attention beyond the immediate visual experience revealed in the painting. The same applies to imagining a tiger shown climbing an electric light pole.

Also of special interest in this exhibition is a continuation of the artist's fascination with painting recycled bricks. Shades of red and orange with textural variations imposed by cracked bricks and mortar that clings to the surface of the brick are transformed visually so as to command our attention as they become beautiful images worthy of our aesthetic contemplation. The bricks, evidently -from demolished structures, are treated as worthy subjects for a painting, indeed numerous paintings. Here the topics turn from the surreal to the real in the sense that the bricks become metaphors referencing the massive construction demolition that urban Chinese cities are undergoing today. As suspended in the pictorial spaces orchestrated in Li Song's paintings, the bricks assume an elegant, sometimes disturbing reminder of the losses and the transformations of civilization that they reference. The brick paintings carry a mixed message both marking the passing of an era and portending the future. The presence of a snake in one of the brick paintings foreshadows both good fortune and possible ill fate as the meaning of the snake is ambiguous in Chinese mythology.

Finally, a note on the title given to the exhibition: "Decay of the Sublime." This topic opens a wide range of possibilities of interpretation, as the sublime has factored into the understanding of art since the Eighteenth century writings of Edmund Burke and Immanuel Kant. Since the mid­ twentieth century, the sublime has figured prominently in art's production. Essential features of the sublime are concerned with the human responses of terror, awe, and unrepresentable transcendence. 1 lnitially viewed as a property of nature, the emphasis has shifted since Barnett Newman's 1948 essay on the sublime to a form of Post-Romantic subjective experience focused on powerful emotional states of consciousness (for Newman) associated with the creation and experiencing of large-scale abstract paintings. From this point on, the concept of the sublime has evolved thru various formations in the Post-modern writings of Jean

Franc;ois Lyotard,Julia Kristeva, and others. 2

What then can the title of our exhibition of Li Song's paintings here. "Decay of the Sublime," means in reference to the development of the sublime in contemporary art? One immediate and seemingly obvious answer would be to presume that Li Song's art, with its representation of very concrete particulars of his subjects, might signal a move away from the search for transcendence associated with the sublime. Or perhaps this art reinforces a tendency to search for the sacred in the world of the

1 Simon MorleY, ed., The 5ubli(11e (White Chapel Documents of Contemporary Art), (Cambridge, Massachusetts ; MIT Press, 2010) .

2 Julian Be ll , "Contemporary Art and the Sublime, " in Nigel Llewellyn and Christine Riding (eds.) The

Art of the 5ubiI{r7e , (London; Tate Museum Research Project, 201 3) .

20 secular, as the art historian Robert Rosenblum once proposed in his 1961 book Modem Painting and the Northem Romantic fradition. 1Looking beyond these possibilities, it is necessary to ask whether the concept of the sublime has important bearings on Li Song's vrsion and the production of his art? Or is the sublime better understood as a curator's device useful in organizing and presenting the exhibition, but more or less incidental to the artist's creation of the art? My sense is that, while useful to writers and curators for informing the viewers and relating the work to other work that is taking place in the art world, the artist is well advised to trust his own vision and execution skills as a compass for the creation of the art.

1 Robert Rosenblum. tvWem Painting arid the Northem f/O({18(7tic TraditiO(J , Friedrich to f/othko. (Harper and Row . 1961 ) .

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