7 years of dedicated research has brought us no closer to a unified theory of Wonk, which we have insofar identified as the immaterial essence of art. Ever since art was first invented by Leonardo DaVinci, there have been those who have sought to rationalise the creative process. In the face of such analysis, Wonk remains gleefully unquantifiable. The lack of a guiding manifesto baffles art historians as to Wonk’s place in the wider artistic canon. How can a legitimate art movement possibly exist without a strict set of guiding principles to adhere to? Nonetheless, elements of Wonk theory recur throughout the lineage of modern art, and suggest it plays a foundational role in the creative process.
Walter Gropius’ Bauhaus manifesto states that there is no such thing as art by profession, and that the artist is an exalted artisan. Walter Gropius was clearly very inspired by Wonk theory. By highlighting the fundamental sameness between ‘artist’ and ‘craftsperson’, attention is directed instead toward resisting the bullshit hierarchy of different art forms, focussing rather on the inherent value of making, regardless of medium. Gropius’ push towards industrialisation does show a major difference to Wonk ideology. Wonk’s relative lack of overall purpose stands at odds with the more technically minded Gropius. It is generally agreed that most Wonk art exists due to an internal need to create rather than an external need for functionality.
Current research informs us that a defining trait of Wonk art relates to the disparity between intention and outcome. Elements of this line of enquiry are prominent in the Fluxus Movement’s exploration of chance and effect. In Fluxus founder George Maciunas’ lecture Neo-Dada in the United States (1962), Fluxus is defined in opposition to the traditional artificialities present in art- primarily through exploiting banalities in the artistic process. It is stressed by Wonk scholars that encouraging unpredictability by rigging the creative process is poser behaviour and at odds with traditional Wonk practice. After all, despite any attempts to the contrary, what is the artistic process but a series of decisions? In classic Wonk theory, the making must always come first, followed by a period of intense post-rationalisation. Working with no preconceived outcome was also a hallmark of the Fluxus movement, clearly evidence of Wonk’s influence on 20th century counterculture.
Unintended disparity between intention and final outcome can often be caused by a lack of technical ability. As such it can be argued that Wonk art exists in direct opposition to the ideals of a master craftsperson like Walter Gropius. After all, the title of ‘artisan’ can be attributed to anyone who makes anything, regardless of experience level. This is further supported by the use of cheap, low quality or improvised materials in Wonk practice. This brings Wonk closer in line to Art Brut as far as a ‘movement’ goes, and indeed is further similar in that to label it as a convention at all is a total contradiction. What is rather more important is that the pursuit of Art is the right of all who are interested, and has no relation to education or formal training- as any self respecting Wonk scholar will tell you: School sucks! Stop thinking, start making.