“No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style.”
Wilde’s aphorisms collectively argue for ‘art for art’s sake,’ emphasizing the art’s shape, composition, and other aesthetic qualities and disconnecting the artist from the vision of their art. He believed an artist’s role is to create beauty and explore the human condition, not preach or promote any particular social or political morality. I don’t wholeheartedly disagree. However, I don’t wholeheartedly agree either. I was an Art History major, and the constant digestion of art that held some social or political importance became nauseating. I remember wishing to study Monet or Van Gogh for something emotional and beautiful. That being said, not all art should be disconnected from contemporary issues.
One of my favorite artists is Kehinde Wiley, famous for painting former President Barack Obama for the Smithsonian National Portrait Gallery. When I was 14, maybe 15 years old, Wiley’s collection of naturalistic portraits of black people in reference to Old Master paintings was exhibited at the VMFA in downtown Richmond (my hometown). I fell in love with his pieces’ beauty and how they connected the aesthetics of old works to modern figures. I remember seeing his work gain viral traction on social media for its social commentary on racial issues. Locally, he was causing a stir for his Rumors of War statue.
Monument Ave in downtown Richmond is one of the main tourist attractions offered by the city. Growing up, I loved driving down and seeing a new statue at each block, passing all the beautiful houses along the way until you reached the grandest block, with Robert E. Lee gazing down upon you. Once I grew mature enough to understand the significance of that statue, changes were being made around me. Protests for the removal of confederate statues were sweeping the nation, school names were being changed (including my own middle school going from Harry F. Byrd Middle to Quioccasin Middle), and Monument Ave mainly was receiving backlash for the sheer number and size of the confederate monuments. This would continue to be a prominent aspect of Richmond’s history when, in 2019, the Rumors of War statue was erected outside the VMFA. The statue is a direct response to another Confederate general erected on Monument Ave, J.E.B. Stuart. In the following year, 2020, the rise of BLM protests in the country didn’t skip Richmond. The demand for removing monuments grew and grew, with the threat of destruction if the city wasn’t complacent. Today, all the Confederate military leaders have been removed from Monument Ave.
I’m very fond of how my memories of local history are connected to art. Although Wiley is a controversial figure today, his art inspired my younger self to study art history and to connect to contemporary issues, reminding me that art can be both beautiful and socially significant. Wilde’s assertion that “no artist has ethical sympathies” may hold validity in some contexts, as art for art’s sake celebrates pure aesthetic appreciation. However, my own experiences have taught me that art’s power often lies in its ability to provoke thought and challenge perspectives. Just as Wiley’s work intertwined beauty with a social message, art can simultaneously exist as a reflection of both aesthetic value and social commentary. In the end, it’s not about rigidly adhering to one perspective but rather about allowing art to move you—whether through form, message, or a combination of both.
By Sara Lyons
This was beautifully written and I love your connection of your childhood to your studies as an art history major. I don’t think enough people understand that yes, while art is beautiful it is also political and vice versa. Art also have the potential to inspire monumental changes. I think you found a great artist to use for this piece and you inspired me to look into this artists work! I really enjoyed how you intertwined your past with your future in this piece of writing. Great job!