“Art is love made public” is one of my favourite episodes from Season Two of Netflix's "Sense8" series (created by the amazing Lana and Lilly Wachowski, who brought us The Matrix). There are many characters and the plots are too vast to go into. For the purposes of this blog, this scene focuses on two male lovers living in Mexico who, up to this point, thought their affair was private: Lito, is a machismo action movie star, his lover Hernando is an Art History professor.
While discussing a piece of art in his class, Hernando Feuntes (Lito’s lover) finishes his lecture with: “It (art) is the language of seeing and being seen.”
Then the class starts to giggle as their phones all light up. When Hernando asks what’s going on, one of the men in the class shares what they're all looking at by putting a viral photo up on the lecture room view screen, for all to see. The picture that has gone viral is a photo of Hernando and Lito having sex (and it is quite explicit.) Everyone laughs. The guy who put it onto the screen then wryly asks “Is this art, Mr. Feuntes?”
After taking a moment, Hernando decides to continue the lecture using the picture as the subject...
“Is it art, Mr. Valles? Why don’t you tell us what you see?”
The student says “Looks like shit-packer porn.”
Nervous giggles emanate from the other students.
Hernando retorts: “Shit-packer porn, that is very interesting. ‘Cause this is where the relationship between subject and object reverses. The proverbial shoe shifting to the other foot. And what was seen, now reveals the seer. Because the eyes of the beholder find not just beauty where they want, but also shallowness, ugliness, confusion, and prejudice. Which is to say the beholder will always see what they want to see, suggesting that what you want to see, Mr. Valles, is in fact, shit-packer porn.”
More chuckles from the students, while Mr. Valles looks on uncomfortably.
Hernando finishes, “Whereas someone else, someone with a set of eyes capable of seeing beyond societal conventions, beyond their defining biases, such a beholder might see an image of two men caught in an act of pleasure. Erotic to be sure, but also... vulnerable. Neither aware of the camera. Both of them connected to the moment of each other. To love. And as I have suggested before in this class, art is love made public.
There are many moments like this in Sense8. Turning societal conventions on their heads and asking questions of the viewers themselves. Trying to take a public art form - a tv series - and move it back into a person's private life, to get them to think about their own biases and ideas.
A colleague of mine, Paul Yachnin (Tomlinson Shakespeare Professor at McGill University) once said during a public talk that “theatre (he was not just meaning Shakespeare’s theatre, but all theatre) is the private made public.” He went on to say that one of the terrible things about incarcerating another human being is that you remove their ability to have a private life.
Social media is certainly making most people’s private lives, their thoughts, their meals, their dates, their holidays, their everything super public. For some, the public might mean a closed group of friends, for others, a much larger group of friends of friends, and for some a total public presence (like our dear President Trump). All their thoughts sent out into the world. Their PRIVATE MADE PUBLIC.
Social Media is, in its essence, THEATRE.
If we return to Hernando’s point, that Art is Love Made Public, and if private-made-public Social Media posts are theatre, then Art and Love can also be thought of as a form of Theatre. And as all social media seems to be self-focused, many people are finding that their lives, their literal faces, can be made into a type of public theatre. It’s yet another reason why opinions are being transformed into facts, why people are being duped by fake news – it’s hard to discern real from fake in a world where everything is theatre.
For theatre isn’t real. It is fake.
Yet, social justice warriors on the left, and Trump supporters on the right, are having problems recognizing the difference. They see productions and think that images and words created in the theatre are real, or are offensive, or... dangerous. The uproar this summer with the Shakespeare in the Park production of Julius Caesar is a perfect example of people not figuring out what’s theatre and what’s real. Trump supporters stood up in the theatre to protest the show’s JC looking a lot like Trump (after JC gets assassinated), then real security show up to remove the protestors. But, and this is the meta-gone-crazy moment, later in the play fake protestors stand up in the audience (as part of the play) and protest the assassination and are escorted from the venue by fake security guards. But then the meta goes beyond the horizon: real security guards were needed to escort the fake ones to ensure their safety from the real protestors, or I guess others in the audience upset about the protesting itself. Many in the audience were left perplexed.
But this isn’t only a problem with people who are blinded by their support of Trump, or who haven’t read the play to know what it is actually about. (These protestors are often derided by us liberals for being ignorant, fyi.) Ignorance lives on both sides of the political coin. However, the left sees itself as not just holding the upper hand, but holding the correct hand. Productions of operas, movies, paintings, and books are being singled out for being politically incorrect, oftentimes without realizing the subtleties of the history of the pieces, or the lives of the authors/artists. They are doing the exact same thing as the JC protestors – trying to shut down the private made public. They are trying to control art.
Often the people being silenced are being singled out because of their outward appearance, i.e. their race or their visible cultural identity (often, this is put upon them by those criticizing their works.) Someone might see me and make the obvious - but incorrect - conclusion that I'm a straight, white, male. But my personal identity is much more fluid (and complex) than that and for some of my ancestors, they were far from being considered "white". I'm mostly a European mix (Scottish/Danish), but my Catholic Irish immigrants and "Bohemian" immigrant ancestors on my mother's side would argue their point: they were not allowed into WASP establishments, institutions, or public groups, so how "white" were they? My mom was called Cat-licker by the same protestant kids who would wave their hands over their noses when she passed because she smelled like fish (Catholics ate lots of fish I gather.) Would anyone say her struggles as a young Catholic child in an all Lutheran small town were not caused by her perceived identity?
But the defining aspect of my identity is my atheism. According to the recent polls, being an atheist makes me the most hated type of person in America; the most "immoral". My privilege is great, but I could never run for President. A guy with a middle name "Hussein" has a better chance of being President than any atheist would have (at least currently.) Times might change, we shall see. I make no travel plans to certain countries because my atheism is grounds for my execution.
Should Art or Artists be seen solely through the lens of their identity? And if so, what is that identity? For example, is my art atheistic or should it be distilled down to that of a white married guy, negating my actual and more complex identity? If names and identities were hidden from the public, would art be seen and heard differently? On the operatic stage we can see people and make opinions about their identity, but I don't think we can hear identity. We can't hear race, for instance. Sometimes we can hear an accent (Americans singing in French, the French singing in English, the English singing in 'Merican), but usually the training of a professional opera singer overrides their cultural background. In an art form that is predominantly about hearing, shouldn't that be the dominant element when discussing an opera singer's performance?
Time does move forward and no issue lives beyond its time without mutation. Issues typically evolve. Times change, people change. The Eyes of the Beholders change. But the ART stays the same. It is who is seeing the art that changes. The seers think the art has changed, but it hasn’t. If you understand that, then you're more enlightened than most. The Art is just revealing the seer's current biases, their current issues, their current hearts and minds.
So – what are The Eyes of the Beholders, i.e. the public, revealing what’s in their own hearts and minds now? Currently, I think they reveal a lot of hatred, bias, close-mindedness, anxiety, worry, anger, offensiveness, defensiveness, shallowness, ugliness, confusion, prejudice, but mostly: fear. Otherwise, I think we’d see more discussions about how Art – whether it’s public art, theatre, music, poetry, murals, or even facebook posts – is empathetic, enlightening, open-minded, positive, educational, beautiful, spiritual, or culturally broadening.
As Hernando stated, Art is the language of seeing and being seen. Art is love made public.
What do you see when your Eye beholds art? What does that say about you?