Friday, May 14, 2010

Maritain Maintenant!

But enough about Barth.  I suppose someone could hoist me on my own petard, and say:  "Milliner [for "millinerd" is not in fact my actual name], you say that Barth shouldn't be trusted because he was burned by liberal Protestantism and was over-reacting.  Likewise, perhaps we shouldn't trust you because you were burned by excessive exposure to Barthianism and are now perhaps over-reacting."  Touché, worthy opponent.

Soon to be Dr. Drury, in the comments below, has genuinely convinced me to let this matter be.  Everything I know about Barth is in those comments, and I'm moving on, with something I wrote previously serving as a closing statement (not a parting shot):
Karl Barth’s relationship to visual art seems not entirely unlike his relationship with Charlotte von Kirschbaum: Stimulating, inspiring, but for a complicated set of reasons, formally unconsummated. Saddled with tensions from an unhappy marriage and his Swiss iconoclasm, Barth proceeded on both the romantic and artistic fronts as he could. But there is no reason we need inherit Barth’s circumstantial tensions either in our private lives or in the realm of visual art.
Conversely, there is Marianne Vitale's Patron, my absolute favorite piece of art from the Whitney Biennial, which sets the stage for the New Maritainians:  Wilson, Kresser, Fuglie - unite!   Are there more rising Maritainians out there?  There are (but it was already a pretty long article).  In the meantime, can we please get these three on some kind of speaking circuit?  Spread the word folks.