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Shangri-La, July 1941

Page 5

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SHANGRI-LA                                    PAGE 5
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                  INSTITUTIONS OF ART
                       BY TED CARNELI

Such paint has flowed upon the canvas since that previous article of mine, "Art! I Choke!" was written. Unfortunately, it was published nearly a year afterwards, which made it so out of date that it read like a paper dug from the archives of an antedeluvial society. Unfortunately, that is, for the critics, but fortunately for me as it makes the writing of a sequel so much easier.

Since the beginning of 1939 the whole aspect of science fiction has undergone a fundamental change. The increased number of publishers utilizing futuristic brands of literature as a means to their (remunerative) ends, has widened the competitive field so much that those without some knowledge of the game are already showing signs of strain as with the fiction angle, so with the art side. The illustrations have, in many instances, taken on a more vital aspect than ever before and competition has become far greater and more interesting than it ever was. 

The most profound changes have occurred to the Institutions of Art themselves -- that is, Paul, Wesso, Brown, and possibly Morey, in that order. Tey represent the pre-1939 era, which was built by and round them; built in a stiflingly tight circle which will take some breaking but the cracks are already appearing. The early results from the Widner Art Poll were not exactly surprising because the ardent fans are most likely to reply first; and amongst the ardent fictioneers are the majority of Institutionists -- those that worship at the shrines of the above-listed.

Many fans will naturally argue that, because the Widner Poll has listed certain artists in an order of popularity (? -- my quary), the Poll must be correct. On the contrary, I disagree most emphatically. Paul (at this writing), hasn't been placed first on merit, but on sentimental slop. Solely because the Institutionists are still suffering from a hangover of yesteryear. Because, in those days, Paul hadn't the competition he has today, and he conformed to all the rules the addicts wanted him to, he made a great name for himself.

And an Institutionist will deny that the great can ever be eclipsed.

That statement goes for Brown and Wesso too. But let's back track a little in Time and catch up the threat of Art where I was choked off previously. At that time of writing, I mentioned that I liked the re-

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---------------------------------------------------------------------- SHANGRI-LA PAGE 5 ---------------------------------------------------------------------- INSTITUTIONS OF ART BY TED CARNELI Such paint has flowed upon the canvas since that previous article of mine, "Art! I Choke!" was written. Unfortunately, it was published nearly a year afterwards, which made it so out of date that it read like a paper dug from the archives of an antedeluvial society. Unfortunately, that is, for the critics, but fortunately for me as it makes the writing of a sequel so much easier. Since the beginning of 1939 the whole aspect of science fiction has undergone a fundamental change. The increased number of publishers utilizing futuristic brands of literature as a means to their (remunerative) ends, has widened the competitive field so much that those without some knowledge of the game are already showing signs of strain as with the fiction angle, so with the art side. The illustrations have, in many instances, taken on a more vital aspect than ever before and competition has become far greater and more interesting than it ever was. The most profound changes have occurred to the Institutions of Art themselves -- that is, Paul, Wesso, Brown, and possibly Morey, in that order. Tey represent the pre-1939 era, which was built by and round them; built in a stiflingly tight circle which will take some breaking but the cracks are already appearing. The early results from the Widner Art Poll were not exactly surprising because the ardent fans are most likely to reply first; and amongst the ardent fictioneers are the majority of Institutionists -- those that worship at the shrines of the above-listed. Many fans will naturally argue that, because the Widner Poll has listed certain artists in an order of popularity (? -- my quary), the Poll must be correct. On the contrary, I disagree most emphatically. Paul (at this writing), hasn't been placed first on merit, but on sentimental slop. Solely because the Institutionists are still suffering from a hangover of yesteryear. Because, in those days, Paul hadn't the competition he has today, and he conformed to all the rules the addicts wanted him to, he made a great name for himself. And an Institutionist will deny that the great can ever be eclipsed. That statement goes for Brown and Wesso too. But let's back track a little in Time and catch up the threat of Art where I was choked off previously. At that time of writing, I mentioned that I liked the re-