The Don As Art
[this is a repost from April 2011]
Part of the noose that is knot this week is the Meredith Vieira/Don Trump extravaganza that took place on The Today Show, April 7th 2011. Poor Meredith was dumped on for being preoccupied with packing her golden parachute while the Trump grandstanded over a non issue. Hearing that an epitome of the American entrepreneurial spirit, vested casino owner, pillar of skyscraperdom, and presidential wannabe has doubts was like hearing a Catholic priest wannabe question her faith. Although not mentioned, Meredith’s interview hearkened memories of Katie Couric bamboozling Sarah Palin. By those standards, Vieira certainly came off as unprepared and unarmed. But she was none of the above.
Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern. is an essay by Bruno Latour that appeared in Critical Inquiry 30, no 2 winter of 2005. Reading this in the light of the Vieira/Trump interview makes finding fault with Meredith totally off the mark. As Latour points out, the Don simply employed methodologies and strategies of critique that have been championed for their incisiveness and originality. These methods and strategies were a stable of the pedagogy molding and forming cultural workers for the 21st century, eventually becoming part and parcel of our culture. That we don’t like the message, or the bearer of the message is one thing, but we certainly are enamored with the process by which the message is being delivered. Besides, the message is irrelevant. The Don got media attention, created buzz, acquired political capital, and promoted his “Already Successful Celebrity” Apprentice show. Recently, after a Charlie Sheen performance, in a “how was the show?” man-on-the-street interview by a Columbus Ohio TV station, the attendee gushed with praise for what a genius of marketing and how brilliant a promoter Mr. Sheen was.
How many times have you been to a visual art showing where the artist “interrogated” some commonly held cultural notions or practices, “questioned” given interpretations of reality? (The interrogation’s response- “That is for the viewer to imagine.”) How many times have you left such an art show thinking “Anyone can ask the questions. It’s a little more difficult, and requires some commitment, to provide an answer.” How many times have you seen associations made, juxtapositions of total fabrication, inappropriateness and inaccuracy portrayed as Art, justified by their being meant to jar the viewer and startle them into considering alternate realities? How many issue related works of Art have you pondered that righteously “made the point” that something was questionable or wrong with regard the environment, “human rights”, global economics, genocide, etc. but left you totally irritated and frustrated because the artist exerted absolutely no imagination or creativity in seeing through their banal article of faith declaration and dared not present how it could/should/must be (all the trappings of critique without being critical)?
C’mon folks, we love this stuff. As Latour pointed out, we’ve embraced this critique so intimately that we’ve lost the ability (or commitment) to imagine otherwise, to articulate a definitive and determinate meaning.