{"id":22455,"date":"2005-02-16T01:01:01","date_gmt":"2011-05-19T06:55:30","guid":{"rendered":""},"modified":"2011-05-19T06:55:30","modified_gmt":"2011-05-19T06:55:30","slug":"if_i_can_do_it_isn_t_art","status":"publish","type":"post","link":"https:\/\/admin.rushlimbaugh.com\/daily\/2005\/02\/16\/if_i_can_do_it_isn_t_art\/","title":{"rendered":"If I Can Do It, Isn\u2019t Art"},"content":{"rendered":"
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Hey, speaking of Fashion Week, what is it with this renaissance? Do you know what this art show is in New York City? John Podhoretz… This thing Christophe<\/emphasize> or Christo<\/emphasize> or whatever has done, hanging — what do you even call these things? Have you seen this art show in New York along the walkways? They\u2019ve got giant (interruption). Well, what? You went to it, H.R.? Wife wanted to go? See, now, this is something typical. John Podhoretz yesterday in the New York Post had the correct take on this piece. This is absolutely stupid. New York itself is a work of art, because New York… Every tree in New York has been planted. New York was laid out, or Central Park was laid out and designed. So here comes Christophe or Christo, whatever. Christophe is a hair designer, right? He could have done it! They hang (interruption). You know what I\u2019m talking about, Mr. Snerdley? What do call these? They look like giant pink sails. They look like giant pink sails that are above you as you walk through the park, through a section of the park, and like (interruption). No, they\u2019re not like canopies. I don\u2019t think they\u2019re canopies. It\u2019s like big orange shower curtains is what it looks like, primary. It\u2019s called The Gates. Yeah, big orange (interruption). It\u2019s many years and many millions in the making, and it\u2019s a fine, fine work of art, and as John Podhoretz pointed out yesterday, New Yorkers are too caught up in being hip and too “in” to say what they really think about it: It\u2019s stupid. <\/line> So they gotta go walking through there and go, “Ooh, ahhh,” and think that it\u2019s the most magnificent, fabulous piece of art they\u2019ve ever seen when it\u2019s stupid. It\u2019s like hanging the golden arches in Central Park in fabric and claiming that it\u2019s art. And so the New York left is all taken with this. “Ahhhhh!” Peter Jennings, in fact, was seen walking his dog through this thing, making comments that it\u2019s good to see people go out and support this kind of revolutionary art. Now, I read the other day, I just finished the Da Vinci Code, ladies and gentlemen. I\u2019m a late arrival to this book, but there was a sentence in this book that I\u2019ll never forget, a lot of sentences in this book that I won\u2019t forget, but there was one sentence in this book particularly relevant to this discussion today. You know, I\u2019ve always tried to define art for people, and I\u2019ve always said, “If I can do it, it isn\u2019t art,” and I could do this. If somebody gave me $20 million I could go out and buy a bunch of orange shower curtains or sheets or whatever and hang them up on poles, but because my name isn\u2019t Christo, it wouldn\u2019t be perceived as art. The line in the Da Vinci Code was that art is simply the… I\u2019m going to have to paraphrase this. But art is simply man\u2019s ability to… What\u2019s the word? Not recreate. (interruption) No, no, no, no, no. Art is simply man\u2019s ability to reflect himself the natural beauty around us. Paintings, we paint people. People themselves are beautiful, but a painting is considered to be a replica. Art is the human replica of the beauty of nature. Well, if that\u2019s true, and it sounds good to me, there\u2019s nothing beautiful and nowhere in nature are there orange shower curtains hanging in a forest when you get right down to it. So I don\u2019t see how it\u2019s art. <\/line>BREAK TRANSCRIPT<\/line><\/p>\n

RUSH: Dolores in New York City<\/a>. Hi, I\u2019m glad you called, and welcome to the program. Hi. Yeah.<\/line>CALLER: I\u2019m very excited to be on your program. I\u2019m a regular listener.<\/line>RUSH: Thank you.<\/line>CALLER: And I just caught on what you were saying about Christo\u2019s Gates in Central Park.<\/line>RUSH: Yes.<\/line>CALLER: I actually worked on that exhibition. I worked on the installation.<\/line>RUSH: How long was that work of art in — well, how long was that a work?<\/line>CALLER: The installation, how long did the installation take?<\/line>RUSH: No, from the moment of exception, somebody figured they wanted to hang —<\/line>CALLER: Twenty-six years.<\/line>RUSH: You\u2019ve got to be kidding me!<\/line>CALLER: They tried to convince the park for 26 years. They came up with this idea and they persisted, and eventually Bloomberg I guess two years ago said, “Heck, why not.”<\/line>RUSH: Yeah, he was running for reelection.<\/line> CALLER: Well, that, too. But as a regular listener and also a regular user of the park, I\u2019m in the park every day because I have dogs and I walk there, it\u2019s very dreary in the winter.<\/line>RUSH: Yeah, yeah, yeah.<\/line>CALLER: And so to have this installation, it really livens up the place. But, you know, when I was doing the installation, there were a lot of camera crews, a lot of German camera crews and so I got interviewed, and, you know, they ask you what is your opinion, and I said for me this was a celebration of freedom, because Christo is from Bulgaria originally and Jeanne-Claude, his wife, was from France. Notice they did not become citizens of France. They became citizens of the United States.<\/line>RUSH: Yeah.<\/line>CALLER: They lived in New York for 40 years.<\/line>RUSH: Yeah.<\/line>CALLER: And, you know, for me, I said this is — imagine the Iraqis, they had to go vote, and they were going to get blown up or killed, and these people, they\u2019re very creative, and —<\/line>RUSH: Wait, wait, wait. Dolores, hang on just a second. <\/line>CALLER: I want to say I\u2019m very nervous.<\/line>RUSH: I know, but I just want to make sure I\u2019m understanding. You\u2019re comparing Christo\u2019s courageous work of art here with the Iraqis going to vote?<\/line>CALLER: I\u2019m comparing the act of when you live in a real freedom environment, that we live in, in this country —<\/line>RUSH: Yes.<\/line>CALLER: — we take advantage — I mean we take for granted our freedom every single day.<\/line>RUSH: I agree with that.<\/line>CALLER: We\u2019re a bunch of whiners when we have to go wait in line to vote ourselves. And so what I was saying, that here these people are, they live in, and I live in, and you live in this environment that you conceived of your show. I mean, when you live in an environment where you\u2019re not in fear you can do incredible things.<\/line>RUSH: Don\u2019t misunderstand me. I mean, they can do whatever they want in Central Park, if they want to roll toilet paper in the trees and call it art in Central Park, I have no problem. I\u2019m a big freedom guy, as you know. I\u2019m just, just… You know (laughing).<\/line><\/p>\n

CALLER: Have you walked in it, or you\u2019ve just seen it on TV?<\/line>RUSH: I\u2019ve just seen it on television, still shots.<\/line>CALLER: It\u2019s a very different feeling when you walk through it because I usually tread the same path every morning, and it\u2019s like, “Oh, my God, I want to go here. I want there.”<\/line>RUSH: Yeah.<\/line>CALLER: You just want to explore the park more. And I just think it\u2019s, you know —<\/line>RUSH: Why would this make you —<\/line>CALLER: — going to the moon, and how many years ago —<\/line> RUSH: Oh come on now, you can\u2019t compare hanging a bunch of these — what are these, anyway? They\u2019re not shower curtains but look like it.<\/line>CALLER: It\u2019s a fabric. It\u2019s like a polypropane —<\/line>RUSH: Folks, in case you don\u2019t know. Christo is the guy who puts fabric on sidewalks in places and calls it art. So now he\u2019s put the fabric in the air.<\/line>CALLER: He wrapped the Pont Neuf Bridge in Paris a number of years ago.<\/line>RUSH: That\u2019s right. He wrapped the bridge.<\/line>CALLER: And the Reichstag in Berlin.<\/line>RUSH: Oh, yes, I remember that. See, that\u2019s the guy we\u2019re talking about. If you like it, yeah, if it enhances your — by the way, before you go, Dolores, did you watch the dog show last night, best in show?<\/line>CALLER: I couldn\u2019t because I was up in LA. After all, one does live in New York, you know. But what was the dog show?<\/line>RUSH: Well, you just said you had a job, the kennel club, dog show, Westminster Kennel Club, biggest dog show of the year was at Madison Square Garden. I was wondering if you watched it.<\/line>CALLER: I didn\u2019t go but I did understand. My dog is also a member of the Good Dog Foundation that they had some program on that. Did you see that?<\/line>RUSH: The Good Dog Foundation? I\u2019m very familiar with that.<\/line>CALLER: Apparently somebody was being awarded, and I missed that, but —<\/line>RUSH: Yeah. Well, you can\u2019t do anything. I mean — <\/line>CALLER: I don\u2019t know if I made my point as succinctly as I really wanted to make is that —<\/line>RUSH: You made your point so well, Dolores —<\/line>CALLER: We can be free to do wacky things as if it\u2019s zany —<\/line>RUSH: Wacky things, exactly right, wacky things. But if you want to look at it as art you\u2019re more than welcome to. I don\u2019t, but I think it\u2019s… You\u2019ve been great. You\u2019ve opened a lot of people\u2019s eyes who may not have known what I was talking about in terms of how people perceive it. I\u2019m glad you called. I appreciate it so much. This is Tom out in Long Island. Nice to have you. Welcome to the program, sir.<\/line>CALLER: Hey, Rush, nice to talk to you.<\/line>RUSH: Yeah.<\/line>CALLER: I just wanted to say that I\u2019m up there, I\u2019ve been up there last week, and —<\/line><\/p>\n

RUSH: Up where? Where?<\/line>CALLER: Up in Central Park. I work up there. I work in the area.<\/line>RUSH: Oh, okay.<\/line>CALLER: And the only thing that I got to say is: Every time you drive on a road, you see construction. Construction is orange. They\u2019ve made the whole Central Park look like a construction zone.<\/line>RUSH: I hadn\u2019t looked at it that way, but I see your point.<\/line>CALLER: It\u2019s like the whole park looks like it\u2019s under construction. They took this beautiful park and made it look like it\u2019s under construction.<\/line>RUSH: Well, I very much enjoy these different artistic impressions of this work of art. Shower curtains, construction zone. You guys, you\u2019re making any point. You couldn\u2019t have done a better job, Tom.<\/line>CALLER: When you\u2019re driving on the highway and you see orange construction zones, you know, cones —<\/line>RUSH: Yeah?<\/line>CALLER: — orange barrels —<\/line>RUSH: Yeah.<\/line>CALLER: — it\u2019s construction.<\/line>RUSH: Exactly right.<\/line>CALLER: The whole park is construction now.<\/line>RUSH: Yeah. Well —<\/line>CALLER: I don\u2019t know how you call it art, but some people look at it as art, God bless them.<\/line>RUSH: That\u2019s exactly right. Art is in the eyes of the beholder. I mean, don\u2019t forget in the last 16 years we\u2019ve had art, a crucifix in a jar of urine was art, elephant dung on the Virgin Mary at the Brooklyn museum was art, New Yorkers told us so, and it\u2019s really, really, really good art if it\u2019s funded by the federal government via the NEA. Mike, your turn next from Tucson<\/a>. Welcome to the program.<\/line>CALLER: Hello?<\/line>RUSH: Yes.<\/line>CALLER: Hi, Mr. Limbaugh.<\/line>RUSH: Yes.<\/line>CALLER: Thanks for taking my call.<\/line>RUSH: You bet, sir.<\/line>CALLER: I was also calling to defend Christo\u2019s installation as a work of art.<\/line>RUSH: Yes.<\/line>CALLER: You made a comment earlier about art being somewhat reflective of nature?<\/line> RUSH: It\u2019s our attempt to — and I can\u2019t think of the word that was in the book that I read, the Da Vinci Code, but art is the human attempt to recreate the beauty around us.<\/line>CALLER: Right.<\/line>RUSH: And I don\u2019t know where this has been recreated, I don\u2019t know Christo saw fabric and shower curtains in a forest to recreate it. Obviously has been places that I haven\u2019t been.<\/line>CALLER: (Laughing.) Well, I think in a way does do that in terms of how it repeats color and form, and he\u2019s done some other things. I\u2019m not a Christo expert by any means, but he\u2019s done some installations with the umbrellas and wrapping buildings and stuff.<\/line>RUSH: Yes.<\/line>CALLER: And it looks to me like what he basically does is he takes these sort of natural forms and forces us to look at them in a different context.<\/line>RUSH: Hm-hm.<\/line><\/p>\n

CALLER: And so —<\/line>RUSH: But I\u2019m getting confused here because I thought a tree was beautiful in and of itself. Why do we have to now gaze around an orange piece of fabric to see that a tree is beautiful? But, see, this is just me. I\u2019m probably too literal to be a fine art connoisseur and as such… But that\u2019s, you know, it\u2019s a harmless thing. I just think what\u2019s funny — and I don\u2019t mean to be putting anybody down here — I just find it funny to listen to people who think that it\u2019s just wonderfully a cultural thing and supremely unique to hang fabric in a park and consider it great art and listen to people explain to us why they consider it so. I just get the biggest kick out of that. Because I think what it adds up to is all these people trying to be the smartest people in the room. They love hearing me say that it\u2019s dense and I don\u2019t get it because it proves that I\u2019m a simpleton, that I don\u2019t see the finer things in life (laughing). It\u2019s black and white, yeah. I\u2019m too big. I\u2019m a black-and-white simpleton which is why I don\u2019t get the orange shower curtains in the park part. <\/line>BREAK TRANSCRIPT<\/line>RUSH: Jeff in Altoona, Pennsylvania<\/a>, welcome to the program. Nice to have you with us, sir.<\/line>CALLER: Thank you, sir.<\/line>RUSH: You bet.<\/line>CALLER: I was just thinking that that is a frivolous waste of money and that we could have purchased a lot of body armor for the troops or —<\/line>RUSH: Well, but wait, wait, wait. Just a second here, Jeff, you realize that the artist, Christo, used his own funds, $20 million of his own money for The Gates in Central Park?<\/line>CALLER: Well, that to me seems like a double standard. If the Bush administration raised their own funds and spent it on an inauguration, then why can\u2019t he spend it on the troops?<\/line>RUSH: It\u2019s actually an excellent point. When the Bush administration raised $20 million of private sector money for the inauguration, there were howls of protest over insensitivity. How could this happen when there\u2019s so much suffering in the world and so many American soldiers at war? You could say the same thing here. How dare New York City accept $20 million for an art show in New York, Central Park, when there are homeless people, especially now that Bush is president, wandering the streets of New York? There are still people that need help from the tsunami, and yet New York let somebody spend $20 million of his own money on — I still don\u2019t know what to call this. Shower curtains in the park, whatever it is. But yeah, there\u2019s all kinds of ways we could have fun with this, my friends, and we gleefully intend to. (Laughing.)<\/line>END TRANSCRIPT<\/line><\/p>\n

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Hey, speaking of Fashion Week, what is it with this renaissance? Do you know what this art show is in New York City? John Podhoretz… This thing Christophe or Christo or whatever has done, hanging — what do you even call these things? Have you seen this art show in New York along the walkways? 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