Francisco de Goya didn't think art was beyond you and neither did Saul Bellow.
Saul Bellow is an award winning American writer, who responds as candidly in interviews as he does within his novels. The various prizes aren't the inspiration- Bellow cuts to the bone with an honesty about people, films and novels.
Bellow states,
“That’s like mixing up the sign over a hock shop with bowling balls.
Just because the things are round and look as if they might roll doesn’t mean they are what they seem to be, OK?
Commercially there’s no contest between the movies and the novel because people feel there’s something pretentious about high art.
The novel as high art has been demoted by the movie as high art, and the movie people are promoting this view.”
In other words, Saul complains that people misinterpret high art. The movie’s popularity to people is a profitable interest from which the industry benefits. The novel then loses attention, as more money goes toward the success of films.
High art expresses the inexplicable through its mediums. The classic Western images of high art include the Sistine Chapel, for example, or Manet’s Le Printemps;
and despite their ubiquitous themes, people continue to view them as uppity, inaccessible wealth. I hear more comments about Mona Lisa’s monetary value than the optical illusion that makes you feel as if she’s watching.
The same goes for NFT's.
In addition, the film fills in nuances explicitly, with its backstories and unfortunately revised scripts, at times. That medium can remove the chance to interpret the inexplicable, a key feature of true artistry.
Ultimately, this photographer agrees with the writer that movies sell since they remove the guesswork from art consumption. High art isn’t pretentious, or even unaffordable— it is ubiquitous and available.
The current shame is people consume content quickly. Mindfulness gives way to completionism. Deconstructionism successfully dulls our taste for beauty.
My art is high art. High art is your art.