Note: This Diner Dogma was recorded in the winter of 2004, but wasn't transcribed until January 2005 due to the indolence of the ArtLexis staff.
K: We're back
after one of our periodic multi-month absences from Diner
Dogma to drive out our winter doldrums and enjoy periodic
torrential downpours. We're sitting in the noisy and
crowded Washington Square Diner, my favorite haunt, and
really the only remaining diner in this part of Greenwich
Village.
Given the recent near extinction
of diners in the vicinity, perhaps it's an appropriate
time to discuss what I like to call "The Window of
Ugliness." This is my pet theory which supposes that
the ugliness of certain human artifacts is entirely temporary,
and that everything that seems ugly today will wind up looking
beautiful in the future, will actually enter into a kind
of Valhalla of beauty, an everlasting eternal beauty. Say
something.
L: (laughs) So we started to have
this conversation this morning and it came up in the context
of architecture first, but I can see how it definitely carries
over into other areas.
K: I think it carries over into
every part of the culture. I mean, look at the whole phenomenon
of the "diner", for example, which had a lifecycle
starting around, oh I don't know, the first World
War when they evolved out of lunch carts, and then a period
of ascendancy where they spread all over. Then diners peaked
some time in the late 50's, and then they became less
popular and went into a decline.
At that point, people started to see them as ugly, no longer fitting their contemporary standards of beauty, and they entered a period which I would call their Window of Ugliness. And then eventually, lo and behold, this sense of ugliness began to wane, and they came to be seen as beautiful, as "classic" - and by that point the Window of Ugliness for diners was shut.
And then you even had this phenomenon
of the "neo-diner," so around Times Square for
example, there are a few of these classic 50's-style
diners which are actually brand new, and you walk in and
everything is faux 50's, everything is chrome, the
waitresses are dressed in mini skirts and it's clearly
understood to be a classicist revival of the "idea"
of a diner.
L: That's a phenomenon that
I've noticed since the mid-80's, would that
be the indicator of when the Window of Ugliness for diners
closed?
K: I think it really closed in the
mid-70's, when the Window of Ugliness for all sorts
of things from the 50's closed. I can remember as
a small child in the mid-60's, sitting in the back
of my parents' car and seeing cars from the mid-1950's,
ten year-old cars driving by and thinking that their huge
tailfins were the most hideous thing I had ever seen in
my young life. I couldn't even bear to look at them;
they burned my eyes with their ugliness.
And then in 1973 the movie American
Graffiti came out. Now, American Graffiti was actually set
in 1962 but really, in terms of the popular perception it
was seen as being about the 1950's. At that point
you had had about a decade since the Window of Ugliness
for stuff from the 50's opened, and now it closes.
And suddenly those cars were beautiful. And I remember being
surprised by that realization as a kid, "Oh, cars
from the 50's are beautiful after all!"
Anyway, I started thinking about
this idea about the Window of Ugliness when I was a young
punk rocker, when without even realizing what we were doing
we were developing kind of a revival of 50's style,
50's classicism. A striking thing about punk was how
much it was an echo of the 50's - although in its
defense it wasn't just revivalism, because it was
post-modern in the sense that it knowledgably and self-consciously
incorporated those styles into new kinds of cultural productions
that used them ironically, not uncritically.
So in reaction to the loose colorful
clothing of the 1960's and early 70's, you suddenly
had this idea of tight clothing and dark clothing, leather
jackets, black pants. I remember that you couldn't
buy black jeans in Winnipeg in 1980 so we used to buy blue
jeans and dye them black. And you couldn't buy skinny
legged jeans so we would turn our jeans inside out - and
I remember I had my mother's sewing machine which
I learned to use very well - and we would sew new, tighter
seams on the inside of the pants.
And you would make the pants so
tight that you literally couldn't squat in them, you
couldn't cross your legs, and if you were lucky enough
to have sex with a young punk girl you had to go through
the ordeal of peeling them off slowly, turning them inside
out and trying to pull them over your heels while she squealed
with laughter at the sight of you.
So there we were, in these tight,
dark clothes, and this lasted for several years, some might
say twenty years later I'm still wearing that type
of thing...
L: Well they're not quite
as tight anymore.
K: No, not quite as tight. So there
we were until around 1984, when it started changing. We
were at this one punk gig, and I was surveying this scene
of people all dressed in this punk way with my friend Ralph
Allen, and an acquaintance of ours, Curtis Austin walked
up dressed for all the world like one of the Beatles from
1965. In other words, he was starting to move out of that
50's and very early 60's style (or a version
of it, a post-modern adaptation of it) and he was starting
to move into a style that was more influenced by and indicative
of the mid-1960's, a little more colorful, a little
looser.
And he was wearing this scarf and
I remember that Ralph looked at it - and I had never even
heard the word "paisley" in my life, but I recognized
the pattern from my childhood as something associated with
hippies, and therefore ugly - and Ralph said "wow,
cool paisley!" and it was almost electrifying to me.
I remember thinking "something is changing, something
ugly that you could not have worn just became beautiful
through no other action than the passage of time."
The Window of Ugliness had closed, and suddenly paisley
was beautiful again.
So I think that the Window of Ugliness
for fashion starts when something is about ten years old,
and then stays open for about ten years. So by the early
1980's the fashion of the early 1970's was almost
too hideous to contemplate. And if you look back on contemporary
accounts you'll see that people often talk in those
terms about 70's fashion, about how much they reviled
it and how incredibly horrible it was and nobody could believe
that they would ever dress that way.
L: (laughs heartily)
K: And yet today we're very
forgiving of 70's fashion because its Window of Ugliness
closed in the mid-1990's when it was about 20 years
old. And now, certainly in Manhattan, it's absolutely
the height of style. I frequently see young men with moustaches
and sideburns.
L: I'm not so sure I like
that revival.
K: Maybe you and I are just too
rooted in the past.
L: You could say that!
K: At any rate, I would compare
that cycle, that period of ugliness starting ten years after
the fact and lasting for ten years, to the Window of Ugliness
for architecture, which I think starts about twenty-five
years after the fact and lasts for maybe a little longer
than for fashion, maybe another twenty-five years. So, for
example the destruction of Penn Station took place right
when it was about fifty years old, and really just before
there was any sort of broadly-based appreciation for it
architecturally. Right as its Window of Ugliness was about
to close it was torn down, unfortunately.
I remember as a child looking at
architecture from the 1950s, or "high modernist"
architecture, and thinking that I had never seen anything
so hideous in my entire life. And that was when it was about
25 years old, I suppose. And now high modernist design is
the most fashionable design in the city. If you go around
and look in the trendy stores selling used furniture in
the East Village they're all selling high modern furniture.
L: Yeah, mid-century modern is definitely
the hottest thing.
K: Yes, it's been fifty plus
years and the Window of Ugliness has thoroughly closed.
It was at its peak in the late 70's or early 80's.
That's when Jonathan Richman sang: "the 50's
apartment house looks bleak in the 1970's sun."
And the broader point that I would
take from it is that the whole idea of beauty or quality
in culture, in art, is absolutely contingent upon context.
When you're immersed in a style, surrounded by it
at all times, you eventually start differentiating between
good examples of it and bad examples of it. You become hyper-sensitive
and hyper-critical of subtle elements in the style, and
after enough time and exposure almost every example of it
starts to look ugly to your rarified tastes.
But after it stops being ubiquitous
and enough time passes, people gets removed enough from
it to stop being sick of it, they get a little perspective
on it, and start seeing the samenesses in it, not the little
differences. And after enough time, it just all looks beautiful.
Once the Window of Ugliness closes,
you'd need to be a specialist, someone who deliberately
surrounds themselves with a style in order to be able to
still see the ugliness. Which is why you can have historians
wandering around saying what types of 18th century Scandinavian
architecture they find beautiful and what types of 18th
century Scandinavian architecture they find ugly.
But to everybody else all 18th century
Scandinavian architecture is beautiful. And I think we should
remember that when we talk about art. And all shitty artists
- especially shitty digital artists - should take great
solace in this because 200 years from now even the shittiest
digital art is going to look as good as - what's his
fucking name - Matthew Barney.
L: (Laughs hysterically)
K: No one will be able to tell it apart. They'll say "I think that's some early 21st century digital art! It's beautiful! I'm going to hang it on my wall." And I don't offer this up as a defense of the horrible quality of work we present in ArtLexis, because of course I think that the work in ArtLexis is very beautiful and we deliberately eschew work that we find ugly. But I offer this up more in the sense of admitting to myself publicly, in a curatorial capacity, that ultimately there are no grounds, no firm grounds, on which I can base any of those decisions - they are being made in the full realization that they are completely temporary, contingent and subjective.
L: I anxiously await to see in which
context all that horrific installation art in this year's
Whitney Biennial becomes beautiful.
K: A devastating point.