While neither political party has a monopoly on “community,” in recent years Democrats have been more inclined than Republicans to invoke it—none more conspicuously than Barack Obama. In the peroration of the 2012 State of the Union address, he declared that “No one built this country on their own. This nation is great because we built it together. This nation is great because we worked as a team.” A month earlier, in the city where Theodore Roosevelt delivered his landmark “New Nationalism” speech, Obama argued that “Our success has never just been about the survival of the fittest.
Is it possible to report honestly on troubling developments in the arts without becoming a prophet of doom? I’ve found myself wondering about this in the past week or so, as I prepared to say a few words on a panel with the title: “The Decline of the Arts?” Having published more than my fair share of takedowns of various artists and art world institutions, I was in no doubt as to why I’d been invited to participate. And yet I felt more than a little uncomfortable about being associated with the word decline.
Washington is paralyzed by politics and debt, but states and regions are moving to renew the drifting U.S. economy themselves.
Clyfford Still Museum Denver, Colorado I have never been strongly attracted to the feverish visionary heights that can be reached by a prophetic voice. Of course I feel the power of the Book of Lamentations, and Michelangelo’s Last Judgment, and Wagner’s Ring, and Blake’s apocalyptic extravaganzas. But there are other registers that touch me more deeply, or at least more directly. I think a convincing argument can be made that the prophetic mode does not come naturally to the visual artist, surely not to the visual artist in the modern world.
The liberal media conspiracy must have had a secret meeting on the cafe car of the Acela sometime in the past week or so, because there’s been a sudden flurry of pieces revisiting the matter of Mitt Romney’s Mormon faith and urging him, in one form or another, to be more open about it.
In the current presidential election campaign, many, if not most, Americans are expecting that Mitt Romney’s quest for the White House will be buffeted by questions about his religion. How to handle Romney’s Mormonism has proved especially vexing, both for the candidate and for the electorate. It’s worth considering exactly why that’s the case. The essential question, from the perspective of many voters, concerns the very nature of Mormonism, an upstart religion born in western New York in 1830 and persecuted for much of the nineteenth century. After Joseph Smith Jr.
By codified reputation and tradition, if not always by practice, a few famous venues of musical presentation in New York have long represented achievement in their areas: in classical music, Carnegie Hall, of course; in jazz, the Village Vanguard; and in punk, C.B.G.B. (There are comparable institutions in hip hop and other musics.) C.B.G.B. closed four years ago and is now a clothing boutique, and its counterpart in the field of cabaret, the Oak Room at the Algonquin Hotel, folded this Thursday.
In that moment just before New Hampshire, when it was briefly possible to imagine Jon Huntsman fighting deep into the primaries, New York magazine’s John Heilemann made an astute observation. He pointed out that Huntsman’s real audience on election night wouldn’t be the country or the voters in other early states or even the political media. It would consist of exactly one person: Jon Huntsman Sr., the billionaire chemical magnate who, if the mood struck him, could take out his checkbook and completely upend the race. “An investment of, say, $10 million — a rounding error on the Huntsman Sr.
The Village Voice gives out theater awards called the Obies (for Off-Broadway), and during the 1980s the Voice’s theater department voted to bestow one of those prizes on the distinguished absurdist Václav Havel, who dwelled in the faraway absurdistan known as the Czechoslovak Socialist Republic. In their New York productions, Havel’s plays ran at the Public Theater, and everyone who kept up with the downtown scene knew them well. The plays were splendidly mordant.