Recently, I saw a lone man on a busy street corner holding a sign that read:

War is Stupid

The beauty of open interpretation and of not making assumptions about this fellow and his situation: I cannot be certain whether he is making a serious statement about war or an ironic statement about protest.

I was initially delighted awhile back when reading about the “Renoir Sucks at Painting” protests. It seemed so perfectly absurd.

Then I read an interview with the fellow who initiated the idea and my delight quickly wilted. Apparently, he genuinely believes that Renoir sucks at painting and that everyone else should recognize this objective fact. Now, I’m no particular fan of Renoir (though I think he made many paintings that do not suck that nonetheless do not speak to me in any special manner)—nor, for that matter, am I a fan of a sizable number of other artists’ works that are hanging in renowned museums throughout the world. What bizarre human being could possibly walk through a museum and not lay eyes on many a piece or an artist’s catalogue that they felt unworthy of its position? I know of no work of art that brings a tear to every eye. I may be disappointed when someone does not enjoy or appreciate a Pollock or a Magritte, and I may mention some things to such a person that might offer them a different pathway to the work—but I would not dare insist that they should see it my way because they are clearly and objectively in the wrong!

My delight upon hearing about the “Renoir Sucks at Painting” protests stemmed from the thought that they were poking fun at the absurdity of such fussy insistence—not themselves genuinely insisting in a negative direction. Their strong negative opinion is as inconsequential to me as is the museum’s ultimate reasons for including it in their collection. Exposing museum officials for choosing their collections in a biased, subjective manner does not make your own opinions unbiased and objective—it merely offers a dissenting biased and subjective view (which may or may not be agreed with).

The “Renoir Sucks at Painting” contingent seems then to be made up of two sorts of people:

1. those who genuinely do not like Renoir’s paintings and are happy to protest their inclusion in various museums (these people are no better and no more correct than the museum officials and patrons who genuinely like Renoir’s paintings)
2. those who don’t care one way or the other about Renoir (or who secretly kind of like some of his work) but are protesting because they think that it’s funny/rebellious to say that they dislike a renowned painter whose work hangs in prestigious galleries (these people are no better than the museum officials and patrons who blindly accept that Renoir’s work is of high quality because other people say or imply that it is)

For me, the only worthwhile “Renoir Sucks at Painting” protestor is that of a third variety who does so knowing full well the absurdity of making such a protest—that is, the absurdity of making such a strong insistence about the issue—that is, the protestor whose aim is to get you to laugh not just at Renoir and the museum but also at the protest itself—and, therefore, at yourself, every single one of us with each our own stubborn personal opinions and our borrowed or invented hindsight explications.

Of all protests, how could a “Renoir Sucks at Painting” protest be performed with a hard, boorish obstinance rather than with a mischievous smile? It is probably just as well to not have struck up a conversation with the “War is Stupid” guy as I likely would have been disappointed to find that he had a strong opinion of some sort about the matter.

I should perhaps point out, however, that I agree with the “Renoir Sucks at Painting” guy that not enough minorities are represented in museums. Women and minorities should have every opportunity that white men have in finding their work in prestigious museums (if that’s what being a successful artist means to them these days). And when that happens I will probably find that a great lot of it speaks as little to me as that of many of the white male artists hanging about galleries—but hey it’s alright, plenty of other people love them—or will love them.

A museum can make no guarantees for its patrons. In an eclectic, diverse museum, your spiritual brethren will be few and far between—and all the more appreciated when found. I will probably continue to be disappointed by Renoir, Warhol, Stella and pleasantly mystified by Pollock, Magritte, and the “War is Stupid” guy—no matter what the “Renoir Sucks at Painting” guy has to say—just as you will likely continue to have certain opinions about Renoir, Warhol, Stella, Pollock, Magritte, the “Renoir Sucks at Painting” guy, and me regardless of what I might have to say.