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I think the core of this very real problem, which we see in architecture and subway art as well as public statues, boils down to two things: Scott's barberpole theory of fashion and the tragedy of the commons.
The barberpole theory of fashion holds that being fashionable requires distinguishing your aesthetic from the aesthetics of the masses. It naturally drives elite circles who define themselves on the basis of their aesthetic sensibilities (artists and architects) to equilibrate on an aesthetic that most people will find unsettling or discomforting.
And the tragedy of the commons manifests from individual artists, architects and public works decisionmakers prioritizing their personal status among their aesthetically elite circle over the interests of the people who will see the art. Each time they decide whether to erect some modernist abomination in place of something that will actually brighten the day of the people who see it, they are deciding whether to give themselves a large direct payoff at the expense of everyone else receiving a small diffuse harm.
I guess this is inevitable in a post-scarcity society. Showy wealth and extravagance is no longer fashionable basically for the same barberpole reason that it associates one with the wealth-craving aesthetic of the masses, so elites compete for adulation of their peers in a contest to most dramatically degrade public spaces with unpleasant art.
I think the barberpole theory is pretty lame.
First of all, it doesnt actually tell you what new thing the upper classes will adopt. Before modernism, public art and architecture was neoclassical. If I had asked you at that time what style one could adopt to best differentiate from neoclassical, would you have come up with modernism or postmodernism from first principles? I think the best answer there would have been imitating rural peasants, but its hard to say. In practice a "style" has lots of attributes, and giving an exact inverse is difficult and also unnecessary, because anything thats different enough cam be used as a repudiation.
And "obvious inversion" is only one way this could go. Another example that certainly seems to be true often is that only the people youre signaling to can read the signals. If this is "elites compete for adulation of their peers", that doesnt explain the uglyness. It only needs to be obvious if you want to show the proles that youre different from them.
Also, theres a lot of low-class coded things that lower-class people themselves dont consider beautiful. Consider for example these very loose-cut shirts littered with branding: The people who wear these like them, and they think theyre cool, but they dont think theyre beautiful. You have to really scrape the bottom of the barrel to find people who e.g. wear them to a wedding. Returning to the topic of public art, I have yet to see anyone argue we should have e.g. a statue of Mickey Mouse in public square. Why not? Mickey Mouse figures are certainly more popular home decoration than classical statuettes.
So, its not given that the lower classes will even dislike it, if public buildings and art are distinctly higher-class. I dont think postmodern art is an obvious consequence of post-scarcity. Theres plenty of people floating around telling us that things shouldnt be beautiful because thats fascist: consider taking them seriously.
I think you're right that the artistic design space is high-dimensional enough that in theory there'd be any number of vectors orthogonal to popular beauty that one could embrace to assert your position at the top of the barberpole while still producing something beautiful... but being as they're orthogonal, you can strive toward those vectors while also including a directionally inverted component of the popular beauty vector. After all, if you can create a piece with hidden nuance appreciable only by your fellow elites, isn't it still a bigger flex to do that with art that the masses will also find revolting? And it's also true that the theory doesn't tell us what specific style the anti-beauty will take -- the SF Federal Building, the Toronto subway sketches and the MLK Embrace statue all achieve their hideousness in unique ways, and all seem to strive toward various other indicia of elite art -- but if the question is why elite art selection tends to embrace hideousness rather than which particular type of hideousness it will settle on, then the theory seems to do pretty well.
Taking them seriously means asking why they associate beauty with fascism, and I think barberpole theory provides an answer: fascism is low-class, and is just one of the many things that would-be elites signal their status by equivocating with beauty. We also hear that beauty is consumerist, looks cheap, is reactionary, means embracing an aesthetic of a white supremacist past, etc.
Re the first part, I think your reasoning here depends on the directions orthogonal to beauty still corresponding relatively closely to terms in which we normally think about art.
Do I read correctly that you think its possible to make something thats clearly art of our current elite and also beautiful?
What did you have in mind with "looks cheap"? Are there really people who would say e.g. the Lincoln memorial looks cheap?
"Reactionary" here means basically the same thing I did with "fascist", and the association with bad old times is somewhere between made up and self-fulfilling, so it cant be the cause of the dislike.
I think so. The new Moynihan Train Hall is maybe the best example, drawing accolades from elites and normies alike (extension to Penn Station on which I wrote a treatise about a conservatism founded on this specific kind of greatness). One World Trade Center (the "Freedom Tower") was controversial but probably also qualifies, although isn't new anymore. I would say the movie Everything Everywhere All at Once is both a great movie and an elite favorite. On statues specifically I do not know, because I don't follow the topic carefully and only the controversial stuff makes the headlines.
Cladding. Elite architects think cladding "looks cheap" even though it makes buildings more appealing to mainstream sensibility. That's just one example.
No, the Lincoln Memorial doesn't look cheap; the pejorative there would probably be implications of fascism or white supremacy. When Trump issued an executive order that federal buildings should be designed in neoclassical style, the American Institute of Architects responded in part that "Rather than pre-qualified architects receiving the chance to design uniquely-contemporary federal structures for the cities they serve, all future government buildings would instead be reminiscent of the monumental, white construction that has defined Washington, D.C., since its inception, as well as the structures built-in ancient Rome and Greece, and more recently, in Hitler’s Third Reich." I think that's reflective of the genre.
It isn't the cause of the dislike. The cause of the dislike is barberpole theory and elite fashion. The excuse for the dislike is this latter litany.
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I think this is a choice. The elites could also willingly choose to compete in more victorian games to reject the excesses of such unpleasantness from the past. There's no reason to assume that virtue decays forever.
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