A historic WPA era mural on campus depicts kentucky’s agricultural and frontier past, and it makes some folks uncomfortable in a modern context. So, which is more important -- the message as a work of art or the work of art as a message, and wouldn’t it be better to separate the two.
As a work of art, it’s a pretty nice mural. Probably not as dynamic or intense as a Diego Rivera, but like his work, it references the real world and captures part of it. As a message, it’s very difficult to look back and know the intent without understanding the artistic tenor of the time. The very element the students find most objectionable, people of color in menial occupations, could have been a truth revealed, raised to consciousness, the point made that labor for the benefit of others was unfair. Given the times, the artist probably thought of herself as progressive, with a cause and a message, just not the message the student think they see there today, but that was long ago, a different time.
What’s left is the art, humanity’s heritage, and it’s a shame when it’s disrespected. The Taliban in Afghanistan destroyed eight hundred year old buddhas carved in sandstone cliffs because the message of peace and tranquility offended their religion, and Isis in Syria reduced antiquities to rubble, mostly because it appalled the rest of the world, but we sorta wish they hadn’t done it. During the middle ages painters illustrated stories people no longer believe, who cares about virginity and how important is immaculate conception these days, but rather than destroy it, the art is respected because it’s a great accomplishment to be able to paint that well, and it’s enough.
Closer in John Hunt Morgan on his horse, a locally renowned confederate general, has withdrawn from the courthouse to be among his fellow confederates in their section of our stately cemetery, and for his own safety and social order generally, it's a prudent retreat. He's been accused of representing an early twentieth century social order known as ‘jim crow,’ an institution of racial repression, rather than portraying the flower of southern chivalry, a point of view in sharp contrast with those who commissioned the statue in the first place. This is a case, once again, of the message outrunning the art, and it’s a different message this time around, but the same work of art. Perhaps this is art's major attribute, that it doesn't change. It may acquire a patina, may dim with time and incense smoke like the Sistine Chapel, but art is essentially permanent, made to outlive generations, while how it's seen changes with the times.
Maybe the message, fickle as the wind, isn’t as important as the enduring work of art, watching generations turn while remaining a testimony to the human ability to render subtle nuance in molten metal, converting intention and thought into material form. It was a year in the studio before it went to the foundry, and every detail was captured in the pour. Historically speaking, it has the face was of a local businessman and his horse, Bess, was transitioned to male -- it was never more than a lost age’s fantasy, anyway. As an embodiment of historical accuracy, it had its flaws, but it was less about the truth than an excuse to cast a big chunk of bronze. As a work of art it seemed a pretty impressive lawn ornament, there in front of the courthouse, and as for meaning, however it was meant originally, homage to a colorful local hero or elevated symbol of oppression, let it go. It's meaning in a modern context is just a sticky non-verbal fake baby best avoided.
This mural was part of the building, and was mostly responsible for the character of an otherwise prosaic hall. Removing it smacks more of red guard excess than reasonable civic conversation, and actually seems dangerous and unsettling to the notion of free expression. Instead apply your fervor and intensity to present time and its deficits. That way it’s possible to respect, even admire the art already here, and always feel free to make something better if you're dissatisfied, the real way art moves forward.
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