Previously, I wrote about why I’m more interested in active LDS artists who are seeking to build Zion. I’d like to approach this topic from a different angle.
I sometimes rant against the main aesthetic and sociopolitical -isms of our age. I do so knowing full well that I am as caught in them as we all are and that the only way out is to build a substrate of faith and good works, protected by a continual renewing of covenants so that there’s something there when all else gets stripped away by the tragedies of mortality or the tumults of doubt or the relentless winds of daily life. But that knowledge does not stop me from squirming around in the grasp of the dominant discourses. What follows is a tentative bit of thinking resulting from such squirming in relation to some thoughts on what it might mean to be a restorationist artist.
I began with a reductive history of the LDS Church. Now I do the same to Western culture.
PART II: WESTERN CULTURE
Previous and then parallel to the Restoration/Separation and Accommodation/Assimilation history of the Church runs a different process: the aesthetic response of artist to the ideas of the Enlightenment. Romanticism and its offspring modernism and postmodernism (more on them later) are the only dominant aesthetic discourses that Mormons have ever known. To understand them is to understand how the particulars of Mormon art play out.
Thousands of pages have been written on Romanticism so this is going to be an incredibly reductive summary, but the narrative goes something like this: more