Analysis of Art's Transformation into a Contemporary Belief System

An article by Miklos Legrady, edited by Gabor Podor, examines how contemporary art has evolved into a belief system resembling religion. The piece draws parallels between religious structures and the art world, noting that both involve mediated experiences where authorities filter information for followers. Historical references include Tertullian's defense of Christian dogma and Friedrich Nietzsche's declaration of God's death, suggesting art filled a spiritual void left by declining religious authority. The analysis focuses on Marcel Duchamp's role in challenging traditional art definitions, particularly through works like 'Fountain' and statements advocating for art's dismissal. Duchamp's Dadaist intentions to shock audiences are contrasted with the art establishment's elevation of his work to near-mystical status. The article discusses institutional shifts, citing curator Robert Storr's observation that art moved from social spaces like the Cedar Tavern to academic settings in the 1960s. It notes that postmodern art often prioritizes conceptual ideas over technical skill, with figures like Jerry Saltz and Susan Sontag downplaying traditional aesthetics. Examples include Maurizio Cattelan's banana installation, which sold for significant sums despite its ephemeral nature, highlighting market dynamics. The piece argues that art's gatekeepers—critics, curators, and educators—enforce a consensus that mirrors religious orthodoxy, discouraging dissent. It references a rejected academic critique of Duchamp as evidence of this insularity. The conclusion suggests that art has become a substitute for religion, offering communal identity but risking a loss of its original creative purpose.