Downton Abbey is downsizing — or at least it was, for a hot second. If you’ve been following the post-Edwardian miniseries, you’ll know that the Crawley family, who lives in the show’s eponymous grand estate house, was in danger of losing their lavish lifestyle. The show’s patriarch Robert Crawley, the Earl of Grantham, had made a bad investment in Canadian railway, and now, at the dawn of the 1920s, the family would have to sell the colossal Yorkshire manor and be forced to move into (gasp!) a house staffed by only eight servants. The story line was all-too-neatly wrapped up when Matthew, the newest member of the family, finally agreed to hand over a fortune that came in a recent inheritance to save Downton.
I’ve had countless people express strong feelings against modern and contemporary art, as if “art” were a dirty word. (As a more high-profile example, filmmaker Werner Herzog’s declaration of despising art comes to mind.) But equally as problematic is the art world’s mocking response to the naysayers: The unease of many people is met with “That’s because you just don’t get it.”