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Exposure is perhaps the very hallmark of modernism.

What began with what Moses Mendelssohn called the psychological sublime, an aesthetic category for awe-inspiring creations of inner experience, culminated in the exaltation of private subjectivity.

At the threshold of the modern age, the Faery Queen Elizabeth famously said she didn’t plan to build windows into human souls, prefiguring perhaps more than she knew, because that is exactly what the arts of the subsequent age accomplished.

By the nineteenth century an enlightened pastor in Berlin, Schleiermacher, recognized that this movement had begun much earlier in the history of humanity and re-introduced the concept of Christian hermeneutics.

What appears to be secular and even defiant of simplistically conceived religious prohibitions, is in fact profoundly Christian. The mere fact that such art was bred on the rich soil fertilized by the Word of the Bible speaks eloquently in support of this thesis.

The realm of private experience is nowhere closer to its ontological vulnerability than in nudity stripped of its exchange value within a public economy. To re-sexualize this act of sublimation would rob us of a world within.

But as the prophetic Queen warned us, the interior has to remain off limits to power, money, and politics, which act as desublimating factors, exposing the contents of the soul not only to the curious, admiring, and loving gaze, but to envy and plunder.

🎨 Oscar Hermann Lamb, The Green Vase

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