It is impossible to conceive of post-modern poetry without Robert Creeley. And poetry -- in whatever iteration it is in right now -- has not been the same since Creeley died in 2005.
In the spirit perhaps of no good deed goes unpunished, the Museum's present decision to sacrifice the contemporary if not categorically orthodox modernist Tod Williams Billie Tsien Architects Folk Art Museum is nonetheless a record of the increasingly blurred narrative of late 20th and early 21st century aesthetic constructs.
To me, Michiko Kakutani's latest review is emblematic of the ongoing cultural war between those adhering to the tenets of modernity: irony, cynicism, minimalism; and those who obstinately refuse to bow before these pestiferous ideals, those who honor beauty, truth and emotion. Kakutani obviously falls into the former.
While there are limitations in drawing conclusions from our celebrities' lifestyles, Matisyahu's choice does represent an important development in the underlying psycho-spiritual evolution of our time.
Art, like language, morphs words and tones to describe the world. It can be a reflective, interpretive, literal, and/or emotional. Important art passes the litmus test of time. It remains in the pop culture lingo to mark the space from whence it came.
When I want to spend an hour or two with the most culturally radical show on TV--a multi-racial, multi-cultural program where race, gender and sexual orientation truly don't seem to matter--I watch "So You Think You Can Dance".