Iddo Tavory recently began teaching at the New School, in New York, after completing his Ph.D. at UCLA, in Los Angeles. His areas of research focus include the sociology of religion, temporality and interaction. -Jeff
Last week I went to MoMA. Since I came to New York I got more “culture” than ever before. It isn’t that Los Angeles had no great museums, but something about New York—or perhaps the fantasies of the city that I had—spurred me to go to museums much more. The exhibition I went to was Abstract Expressionist New York, which I was particularly excited about: New York art, shown in New York.
In other words, it is a bit like listening to the Red Hot Chili Peppers in California, only far more highbrow. As my partner and I were walking around, we were trying to make sense of the paintings, to decide if we like De Kooning and Motherwell, to “get a feel” for this kind of art. Though we both come from middle-class families, neither of us feels really comfortable around modern art, say, after early Expressionism or Cubism.
It isn’t that we don’t like it, it’s just that we don’t feel like we know how to evaluate it. It isn’t that we aren’t moved, it is almost as if we don’t know how to be moved. It is a strange sensation, looking at a painting and trying hard to be moved. Being moved, after all, shouldn’t involve trying. That’s the whole idea with emotion.
In fact, we do learn to be moved. More precisely, we learn ways to open ourselves to the possibility of being moved. Through the process known in sociology as “socialization,” we learn the knowledge, skills and preferences that will shape the choices we make, the direction we take.
This isn’t only a nice sociological idea, but something that we found out first hand when we were leaving the . . .
Read more: MoMA KIDS: Teaching Art Appreciation
