Even though it started off from an inferior position, the lowbrow movement has its firmly secured position in today’s art world.
Lowbrow, middlebrow, and highbrow nowadays describe categories that imply a certain set of aesthetic and cultural features.
It’s not about intellectual differences anymore. But rather about a diversity of tastes, trends, and opinions that are all equal – just different.
As we’re moving into an era where we, as a society, are learning to value diversity more and more, some argue that we’re now approaching the ‘nobrow’.
In his book When Highbrow Meets Lowbrow: Popular Culture and the Rise of Nowbrow, Peter Swirski writes about moving into a post-brow era, postulating that the rigid distinction between highbrow and lowbrow is ‘incapable of doing justice to the complexity and artistry of cultural production’.
John Seabrook, author of Nobrow: The Culture of Marketing, the Marketing of Culture, considers the disappearance of highbrow and lowbrow because our modern society is ‘ruled by marketing’, resulting in ‘aesthetic worth being measured by units shipped’.
Art appreciation now officially ‘has the right’ to be uncritical, unrestricted, and straightforward. People are free to enjoy what they enjoy.
As there doesn’t need to be an intellectual reason to appreciate high culture, lowbrow art appreciation must no longer be characterized by a lack of such.
Art can be what is really is: freedom, enjoyment, creativity with no limits.