{"id":3054,"date":"2026-07-07T00:01:16","date_gmt":"2026-07-06T21:01:16","guid":{"rendered":"https:\/\/erenyesilyurt.com\/?p=3054"},"modified":"2026-07-07T08:50:15","modified_gmt":"2026-07-07T05:50:15","slug":"alexander-adams-the-decoupling-of-the-sacred-and-the-artistic-the-liquidation-of-tradition-has-left-artists-unmoored","status":"publish","type":"post","link":"https:\/\/erenyesilyurt.com\/index.php\/2026\/07\/07\/alexander-adams-the-decoupling-of-the-sacred-and-the-artistic-the-liquidation-of-tradition-has-left-artists-unmoored\/","title":{"rendered":"Alexander Adams: The decoupling of the sacred and the artistic \u2013 the liquidation of tradition \u2013 has left artists unmoored"},"content":{"rendered":"\n

We spoke with British painter, writer, and critic Alexander Adams<\/a> about the rootlessness, lawlessness, and aesthetic disintegration that have gripped the contemporary art world. Adams, who has uncompromisingly criticized the intellectual decline of art institutions and \u201ccancel culture\u201d in books such as Culture War<\/em> and Iconoclasm, Identity Politics and the Erasure of History<\/em>, is also known for his monographs on great masters such as Vermeer and Leonardo.<\/p>\n\n\n\n

From the aesthetic and spiritual horizon of the Renaissance to the mechanical production of the Industrial Revolution and today\u2019s digital age, the concept of ‘art’ has undergone a radical transformation. Today, however, the objective, aesthetic, or transcendent ground upon which art could be built has completely dissolved. In your opinion, what is the main dynamic that distinguishes contemporary art from past radical breaks and pushes it into a state of absolute ‘groundlessness’ or ’emptiness’? Has art lost its own ontological foundation, or was it deliberately liquidated?<\/em><\/strong><\/p>\n\n\n

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I think you have identified a key element that has been dissolved, which has had a disastrous impact upon art today. For those artists interested in optics and materialism \u2013 let us say the Impressionists, Post-Impressionists, Cubists and those who followed into abstraction \u2013 and those with a political motivation (the Dadaists and Socialists), there was a drive to strip away the spiritual function of art. When one sees the spiritual and transcendent in art as a tool of an oppressive ideological system, then one naturally fights against it. There is also the motivation of wanting new artistic territory to occupy, so that one has the distinction of being a pioneer, regardless of however many useful structures and ideas to which one has laid waste.<\/p>\n\n\n\n

Regardless of how it came about, the decoupling of the sacred and the artistic \u2013 the liquidation of tradition \u2013 has left artists unmoored. Today, we are in a field that has no rules, no objective measures, no artistic touchstones, no universal canon and no governing authority. It is now a matter of political and identity affiliation, choosing one\u2019s preferred strand. Complete freedom leads to the exposure of the limitations of Materialist Man \u2013 his intellectual and emotional priors are cruelly displayed \u2013 with his art becoming ever more solipsistic and hermetic. Now, if an artist approaches the great themes \u2013 death, love, desire, melancholy, the fixations of childhood, the existential suffering of man \u2013 there is enough material for great original art but only if one is of the highest calibre and treats art as a vital route to profound meaning. 
<\/p>\n\n\n\n

The withdrawal of traditional religion from the social sphere through the process of modernization generated a ‘quest for the sacred,’ and art turned into a secular institution substituted for religion. Museums became modern temples, while curators became the new clergy. How did this ‘religionization’ of art lead to the replacement of aesthetic value with an ideological dogmatism? Does the contemporary art world function like a secular theology?<\/em><\/strong><\/p>\n\n\n

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We have two parallel motors that propel the Western understanding of new art today: the cult of originality (that is, both craving for novelty and a veneration for unique artistic relics as touchstones of authenticity) and materialism (the monetary or status value of desirable commodities). Neither of these provide a route to knowing what is meaningful about art, so there cannot help but be a degradation of art made under these conditions. <\/p>\n\n\n\n

I am not sure that the curator-priest (as you so well put it) sets much store by ideology. He is uncommitted. He polices art as a treasure of the governing elite and uses art as a tool to signal to the non-governing elite the elite\u2019s values. By which I mean, the curator-priest understands that art is not (as in previous ages) a tool for allowing the perception of the sacred and communion between an audience and the numinous; for the curator-priest and his masters, art merely transmits to the passive receiver that there is no power outside of the governing elite, that there is no God, no pantheon of immortal artists, no essential atavistic core of mankind. The fact that the governing elite\u2019s stated values are technocratic materialist in nature is incidental. Both curator-priest and artist-scribe would flip to any system within a day, if that were required; they would believe they had always held those positions in principle. For example, the governing elite can require its art-worker underlings (who yesterday supported ardent feminist art) to wholeheartedly believe that men can declare themselves to be women; the underlings will experience no cognitive dissonance due to this switch. Both curator-priest and artist-scribe are absolutely of the system and operate without self-awareness because their success (if not their survival) depends on malleability.  <\/p>\n\n\n\n

Today, we witness a new iconoclastic wave directed at the artworks, sculptures, and cultural heritage of the past, termed ‘cancel culture’ or ‘progressivism.’ How do you evaluate this modern iconoclasm, which can be characterized as an attempt to rewrite history, format the past with today\u2019s moral norms, and virtually erase memory?<\/em><\/strong><\/p>\n\n\n\n


The dominance of today\u2019s values of atheistic liberalism (nominal as they are, considering the only overriding essential is the governing elite\u2019s survival, regardless of ideology) depends on demeaning, rewriting and erasing competing values. So, the heroism of chivalry, value of tribal homogeneity, worship of ancestors, awe at the ineffable divine, national patriotism, belief in the power of great men to shape history, the incompatibility of conflicting civilisations \u2013 all these are anathema to the managerial technocrats who believe history arcs towards universalism and that peoples (and individuals) are essentially fungible. This requires any differences in artistic heritages to be reduced to incidental regional variations on a path to an inevitable (but vague and unexamined) one-world outlook.<\/p>\n\n\n\n

It requires that physical culture of past civilisations be traduced and put on show trials. In London, we had the depressing spectacle of a nationally admired historical artist (Hogarth) being exhibited in a show trial at our national museum, where community organisers and political agitators denounced in labels the artworks displayed. The purpose is to demoralise us and make us ashamed. Later on, pictures will be removed from museum walls, with the ultimate aspiration to have them deaccessioned from the permanent collection. Zealots would prefer the art to be destroyed, but that is unacceptable, currently.   <\/p>\n\n\n\n

Conceptual art marginalized craftsmanship, aesthetic form, and the pursuit of beauty, reducing art entirely to the level of an abstract idea or a political statement. In this order, where an object is deemed a work of art simply by virtue of being within gallery walls, how has the exclusion of craft and formal mastery dragged art into a state of decay?<\/em><\/strong><\/p>\n\n\n

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Man at Bookcase, 2024, Alexander Adams<\/figcaption><\/figure>\n<\/div>\n\n\n


Submission to the arduous lifelong mastery of a craft implies submission to a higher authority \u2013 that of one\u2019s predecessors \u2013 something that is alien to artists today because they see themselves as their own masters. In their eyes, it is repugnant to have to learn from the masters, so they find ways to avoid that, through nomination of the readymade or assemblage or some other diversion. Due to deskilling and delegation, today\u2019s artist rarely is a craftsman. Today\u2019s artists chafe against their inadequacy compared to the achievers of past greatness, making them bitter and hostile. <\/p>\n\n\n\n

In 2006 I coined the phrase \u201cneurotic craft\u201d to describe the niche that contemporary artists occupy in order to cultivate the auras of novelty and mastery; this phrase describes the application of crafting techniques to the ephemeral and modern \u2013 sculpting in dust, perforating polystyrene, carving fruit \u2013 which fetishes mastery but is ultimately an expression of exhaustion and futility. These neurotic craftsmen (usually women) want the cachet of being regarding as avantgarde and brilliant but they are careful that their production cannot compared to great predecessors (such as Gibbons, Michelangelo, Bernini, Rosso) because comparison would reveal their paucity of vision, ability and intellect. So, one invents oneself as the-artist-who-draws-in-biro-on-disposable-cups rather the master of the so-and-so altarpiece \u2013 status, expertise and brand recognition are accrued, but artistic evaluation evaded. It is an elaborate series of evasions, driven by market demand for novelty, the need for a niche field, resentment of Great Men and rejection of the titanic emotional-spiritual power of art.<\/p>\n\n\n\n

In the face of this nihilism, rootlessness, and aesthetic destruction in the contemporary art world, should a conservative art critique remain merely in a position of ‘nostalgia and grievance,’ or should it propose an alternative process of construction? What kind of restoration formula do you foresee in the contemporary world for art to re-establish itself on a solid ground and reconnect with beauty, truth, and craftsmanship?<\/em><\/strong><\/p>\n\n\n

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Traditionalists who merely return to the forms and subjects of the past and use the language of a bygone era have no future because their art is essentially lifeless. It is a simulacra of what was natural and expressive in a past era but is no longer viable because our situation and setting is different. The eternal constants remain but our eyes and vices are not those of our forebears. Poussin and Claude \u2013 these artists we consider classic \u2013 were considered innovative in their day; they were not beholden to recreating art of the past. They wanted to extend and enliven and make more acute stories and feelings they admired from the work of the Old Masters. For tradition to be alive it must renew itself, find new forms and materials, take up fresh idioms, all the time resisting the spurious banalities of universalism and materialism. An artist must avoid both self-protecting irony and facile appropriation of past grandeur, as both are insincere approaches. Equally, he must be self-critical, always willing to forego assumptions that have proved false or unwieldy. An artist\u2019s quest is to shed styles, idioms and technical solutions as though they were skins of a snake whilst being true to his core obsessions: childhood wonder, primal fears, erotic desire, yearning for transcendence, and a burning desire to grasp then fix an electrifying image. The great artist (of every period) must reject the platitudes and conventional responses of his era, never relaxing his guard, never becoming complacent. He must be (as Evola recommends) in<\/em> his time but not of<\/em> his time. It is a tricky balance. As an artist, that is what I aspire to achieve.<\/p>\n","protected":false},"excerpt":{"rendered":"

We spoke with British painter, writer, and critic Alexander Adams about the rootlessness, lawlessness, and aesthetic disintegration that have gripped the contemporary art world. Adams, who has uncompromisingly criticized the intellectual decline of art institutions and \u201ccancel culture\u201d in books such as Culture War and Iconoclasm, Identity Politics and the Erasure of History, is also… Continue reading →<\/span><\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":3050,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[65,91,67],"tags":[],"class_list":["post-3054","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-english-other-languages","category-english-other-languages-en","category-opinion"],"yoast_head":"\nAlexander Adams: The decoupling of the sacred and the artistic \u2013 the liquidation of tradition \u2013 has left artists unmoored - Eren Ye\u015filyurt<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/erenyesilyurt.com\/index.php\/2026\/07\/07\/alexander-adams-the-decoupling-of-the-sacred-and-the-artistic-the-liquidation-of-tradition-has-left-artists-unmoored\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Alexander Adams: The decoupling of the sacred and the artistic \u2013 the liquidation of tradition \u2013 has left artists unmoored - Eren Ye\u015filyurt\" \/>\n<meta property=\"og:description\" content=\"We spoke with British painter, writer, and critic Alexander Adams about the rootlessness, lawlessness, and aesthetic disintegration that have gripped the contemporary art world. 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Adams, who has uncompromisingly criticized the intellectual decline of art institutions and \u201ccancel culture\u201d in books such as Culture War and Iconoclasm, Identity Politics and the Erasure of History, is also... 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