The Ashcan School


There are certain works of art, philosophical concepts, historical periods, and ways of looking at the world that I return to periodically with undiminished fascination.
One of the lights in my life - a street lamp lighting the way - is the work of the "Ashcan" artists. Beyond an intense interest (as if returning to the homeland or the bosom of the family) that I can hardly explain, the artwork of the Ashcan school embodies a way of seeing that I believe is instructive in how to live; or, at least, it evokes questions that are important to ask.
The Ashcan artists were largely equivalent with the early "naturalist" writers in the United States -- Frank Norris, Stephen Crane, and so on. They depicted mostly urban life in a manner consciously devoid of artifice and found living and breathing tissue in the details of the streets, in loneliness, in standing in the rain...waiting, walking solitary among the crowds, moving in the grimy alleys and sidewalks in the shadows of dark buildings, staring alone at the turbulent harbor -- in a city where there was wilderness not long before and where the loneliness of life distilled to the five senses permeated and transformed the physical place itself.
John Sloan, my favorite of the group, found palpable urban vitality in the "drab, shabby, happy, sad human life."
The questions (some are ancient questions) that pose themselves are: Is the real and true always beautiful?; Is living in the moment a door into perception?; Were the artists exulting in the reality of poverty and the fringes (only partially and confusedly assimilated) of a compulsive commercial culture?; Were they producing works of art offering the possibility of living fully in the moment as we must live to kindle the fire necessary to face the realities of the world?
Labels: art, consciousness, seeds

