802 <strong>The</strong> <strong>N<strong>at</strong>ion</strong>. 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CA 92115(619) 265-8104wanted to do when they grew up, all theblack boys raised their hands and said,“Deal crack, decim<strong>at</strong>e my communityand do drive-bys.”This represent<strong>at</strong>ion <strong>of</strong> black men asdicks is the dominant motif <strong>of</strong> many <strong>of</strong>the shows: “I wouldn’t sleep with him sohe dumped me,” “My man’s a dog andyou can have him,” “Confronting theperson who dumped you,” “Women wholet their men have sex with other women,”“I’d do anything for my man” andendless vari<strong>at</strong>ions <strong>of</strong> “secret crush,”“d<strong>at</strong>ing game” and “he has to choose betweenme and her.”Wh<strong>at</strong>ever the topic, the form<strong>at</strong> is asfollows: One person-usually a woman,since women are most frequently cast inthe role <strong>of</strong> stupid, powerless victimcomesout and tells all the couple’s businessto the apparently symp<strong>at</strong>hetic hostand a leering, jeering, cheering audience<strong>of</strong> her peers. This done, the other per-son-usually a man-is brought onstage,where he is confronted by his woman/women, booed or cheered by the audience,and gleefully encouraged by thehost to confirm our worst suspicions. Itwas initially interesting to see th<strong>at</strong> a significantnumber <strong>of</strong> these couples are interracial,but the subtext quickly becameclear: Penis-waving black men prey notonly on black women, who deserve/areused to it, but on WHITE WOMEN. Thusthe shows confirm the popular politicalline th<strong>at</strong> black men are to be feared-notonly In the street but in the bedroom.Violence, teenage pregnancy, poverty,spousal abuse, the spread <strong>of</strong> AIDS andother S.T.D.s, A.F.D.C.-you name it andMandingo’s behind it.Unfortun<strong>at</strong>ely, TV’s Mandingo seldomdisappoints. Neither does youngMr. Charlie. This is not surprising, sincethe desper<strong>at</strong>e desire to be seen, recog-nized and on TV appears to have overridden95 percent <strong>of</strong> wh<strong>at</strong>ever commonsense exists. Almost daily, I witnessed aman <strong>at</strong>tacked for his sexual promiscuitystand up and proudly gyr<strong>at</strong>e or clutch hispenis for the camera. I began to wonderif talk-show producers’ pre-interview <strong>of</strong>prospective guests consists <strong>of</strong> anythingmore than asking them to execute a bumpand grind.It’s rare th<strong>at</strong> guests are given any advice,analysis or support. <strong>The</strong>re is almostnever a psychologist, counselor or evena writer hawking a book on the topic tolisten, place in context or advise remedialaction. A few talk shows use audiencemembers as counselors or judges, butthis is solely for entertainment value. <strong>The</strong>guests have gotten their fifteen minutes<strong>of</strong> fame, but leave essentially as theycame: alien<strong>at</strong>ed, angry and, most important,jobless. <strong>The</strong> hosts leave with a f<strong>at</strong>paycheck.11 this has a pr<strong>of</strong>ound political ef-A fect; daytime talk shows, intentionallyor not, have become storm troopersfor the right. Both the talk shows and theright wing erase the line between theanecdotal and the factual. Both focus <strong>at</strong>tentionon the individual, aberrant behavior<strong>of</strong> a small number <strong>of</strong> citizens anddeclare them represent<strong>at</strong>ive <strong>of</strong> a group.So the black woman labeled a “welfareche<strong>at</strong>” by elected <strong>of</strong>ficials comes to representmost women receiving Aid to FamiliesWith Dependent Children, when theoverwhelming majority <strong>of</strong> women receivingA.F.D.C. do not “che<strong>at</strong>” the systemand would like nothing better than to geta job with benefits gre<strong>at</strong>er than thoseprovided by welfare. R<strong>at</strong>her than presentan honest look <strong>at</strong> wh<strong>at</strong> life on welfare’sreally like and initi<strong>at</strong>ing a discussion <strong>of</strong>positive “welfare reform,” most talkshows seek out the exception who appearsto prove the right-wing rule: a poor, uneduc<strong>at</strong>ed,21-year-old woman on welfarewith four children. Why bother to havea serious discussion about educ<strong>at</strong>ion, unemploymentor building communitywhen it’s so much easier to demonizepoor black women?W<strong>at</strong>ching TV talk shows was like bemgcaught in a daylong downpour <strong>of</strong> fear,hostility and paranoia. I found myselffeeling meanspirited and snarling by thetime the news came on <strong>at</strong> 6 o’clock, andfull <strong>of</strong> lust for revenge. In th<strong>at</strong> mood itwas almost possible to entertain the notionth<strong>at</strong> old Newt might have some goodideas. Maybe we ought to take out a ContractWith America and punish the young,poor, female, black, L<strong>at</strong>ino and gaythosetroublemakers we’ve w<strong>at</strong>ched swaggerthrough talk shows all day.While the pundits and the Presidentdiscuss the neg<strong>at</strong>ive impact <strong>of</strong> right-wingradio talk shows in the wake <strong>of</strong> the Oklahomabombing, TV talk continues unnoticedand unanalyzed. But televisionreaches a much broader audience thanthe already converted who tune in to talkradio.Television gives not only a voicebut a face to our fear and rage, enablesus to point the finger <strong>of</strong> blame <strong>at</strong> thetube-<strong>at</strong> “them”-and roar for punishment,Isn’t th<strong>at</strong> wh<strong>at</strong> the Contract onAmerica is all about? 0
June 5, 1995 <strong>The</strong> <strong>N<strong>at</strong>ion</strong>. 803ART.ARTHUR C. DANTO<strong>The</strong> Whitney BiennialNot long ago I was sent a bookmade up <strong>of</strong> Roy Lichtenstein’scomic-strip-panel paintings <strong>of</strong>the early sixties. It is calledBrad ’61, and its clever author, TonyHendra, has turned the tables on Lichtensteinin a benign way. He has returnedthe panels, so to speak, to the genre fromwhich Lichtenstein first appropri<strong>at</strong>edthem, and has arranged them into kind a<strong>of</strong> comic-book romance in which an artist,Brad, who llves in Tenafly, New Jersey,finds true love with Vicki, the girlnext door, as well as artistic glory in NewYork, across the river. Brad and Vicki arethe sixties ancestors <strong>of</strong> Julio and Marisol,whose steamy narr<strong>at</strong>ive <strong>of</strong> dubious fidelityand sexually transmitted disease haskept us all descending dank stairwaysinto the subways <strong>of</strong> New York in thehopes <strong>of</strong> finding out wh<strong>at</strong> happens next(we may never know, as those marvelouslydrawn L<strong>at</strong>ino lovers have, <strong>at</strong> least fornow, been bumped by gentrified adver-tisements). <strong>The</strong> central panel in the story<strong>of</strong> Brad is a famous painting, Lichtenstein’sMasterpiece (1962), which showsVicki exclaiming over a canvas, <strong>of</strong> whichwe see Only the back: “WHY, BRAD DAR-LING, THIS PAINTING IS A MASTERPIECE!MY, SOON YOU’LL HAVE ALL OF NEW YORKCLAMORING FOR YOUR WORK!” Bene<strong>at</strong>hthe speech balloon, Brad gazes confidentlyinto the future. And if the paintingVicki alone is privileged to see wereto have become as clamored for as thepainting th<strong>at</strong> shows her prediction, Bradtoday would be a very celebr<strong>at</strong>ed artistindeed.I thought <strong>of</strong> Masterpiece when I sawthe cover <strong>of</strong> <strong>The</strong> New York Times Mag-azine for February 26, which showedKlaus Kertess, cur<strong>at</strong>or <strong>of</strong> the 1995 WhitneyBiennial, holding a canvas <strong>of</strong> whichagain we see only the back, somewh<strong>at</strong>smaller than Brad’s and affixed to itsstretcher by means <strong>of</strong> staples r<strong>at</strong>her thantacks. Kertess 1s wearing a dark shirt withlight pinstripes <strong>of</strong> the kind th<strong>at</strong> had all <strong>of</strong>New York clamoring for Frank Stella’spaintings in the Brad era. Kertess lookscryptic and I would say glum: <strong>The</strong> photographerhas said “Smile,” and he hasobliged with a minimal displacement <strong>of</strong>his lips. Just above the canvas is textworthy <strong>of</strong> Vicki, if we can imagine her ascynical: “<strong>The</strong> Next 15 Minutes in Art Arein His Hands.” Bene<strong>at</strong>h the canvas is adescription <strong>of</strong> the story on page 30:“Klaus Kertess and the Making <strong>of</strong> theWhitney Biennial.’’ <strong>The</strong> strained smile isno better evidence for the fact th<strong>at</strong> Kertesswas being cooper<strong>at</strong>ive in the shootthan is the canvas he holds; it is so muchsmaller than anything likely to have beenin a show made up <strong>of</strong> works one couldnot hold in one hand, let alone lift withtwo, th<strong>at</strong> the photograph has the quality<strong>of</strong> a cartoon. Paintings th<strong>at</strong> size belongperhaps to the Whitney Biennials <strong>of</strong>Brad’s first giddy fame, if then. <strong>The</strong> canvasindeed is <strong>of</strong> the dimension one mightencounter on Bellport Lane in Bellporton July Fourth, when artists come fromfar and wide to sell oil paintings <strong>of</strong>wharves, bouquets, beguiling dogs,bowls <strong>of</strong> fruit, old salts. It is not the kind<strong>of</strong> art all New York clamors for.<strong>The</strong> conditions are inplace for cur<strong>at</strong>orialreput<strong>at</strong>ion to exceedartikts’ mown.<strong>The</strong>re is another way to Interpret thedisproportion between Kertess and thepainting. <strong>The</strong> image can be read as an allegory<strong>of</strong> the ascent <strong>of</strong> the cur<strong>at</strong>or in thecontemporary art world and the correspondingdemotion <strong>of</strong> the individual artist.Or, correl<strong>at</strong>ively, it is an emblem <strong>of</strong>how the exhibition has replaced the workas the least un~t <strong>of</strong> artistic significance.Cur<strong>at</strong>orial ascent has come wlth a transform<strong>at</strong>ionin the cur<strong>at</strong>or’s role, from th<strong>at</strong><strong>of</strong> care-giver (L<strong>at</strong>in cur<strong>at</strong>us, derived fromcura, care) to a collection, with primaryresponsibility for preserv<strong>at</strong>ion, inventory,authentic<strong>at</strong>ion and acquisition-to th<strong>at</strong><strong>of</strong> organizer <strong>of</strong> the exhibltlon construedas a cre<strong>at</strong>ive act. <strong>The</strong> original concept <strong>of</strong>the cur<strong>at</strong>or is captured by the British term“keeper,” as used in such titles as “Keeper<strong>of</strong> the Queen’s Drawings,” but there IS nosense in which the current concept <strong>of</strong> thecur<strong>at</strong>or corresponds to th<strong>at</strong> <strong>of</strong> the keeper,for <strong>of</strong>ten the cur<strong>at</strong>or has no collection towhich to minister. <strong>The</strong> cre<strong>at</strong>lve cur<strong>at</strong>or ischaracteristically an independent agentwith an agenda and a talent for ralsingfunds for mounting exhibitions whtchmay, and in certain spectacular instancesDoes yourmutual fund reflectyour ethics?Check outHUDSONINVESTORSFUNDAn ethzcaWsoclally CO~SCW~LS growthFnd No /br<strong>at</strong> or back end loadFor more complete inform<strong>at</strong>ionabout Hudson Investors Fund,lncluding advisory fees, charges andexpenses, call for a free prospectus.Read it carefully before you investor send money.Call 1-800-Hudson-4(1-800-483-7664)CAN YOU MATCH CEO & SALARY?1 Edward Crane, 111 (C<strong>at</strong>o Instrtute)2. 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Includes:mlsslon, accomplishments, key personnel,publlc<strong>at</strong>rons. newspaper clt<strong>at</strong>ions, contacfInform<strong>at</strong>ron. tax st<strong>at</strong>us and more“Admirably achleves Its purpose <strong>of</strong> provldlng1nform<strong>at</strong>:on about the organlz<strong>at</strong>rons andpeople producing the Ideas and advanclngrlght-orlented publlc polrcy and scholarshiptoday.”BOOKLIST, AMERICAN LIBRARIES ASSOC.484 pages, clothbound.$49.95 (Includes UPS dehvery)Economlcs Amerrca, Inc.612 Church St., Ann Arbor, MI 48104V:sa or Mastercard call (800) 878-6141
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