Concerning a proposal for the National Endowment of Arts
Oh, the things you find when trying to find out if the First Lady will play the usual role in the NEA. Here’s a HuffPo piece by Jon Robin Baitz, telling us what he’d do if he was the head of the organization:
I would attempt to pass legislation on a special tax dedicated to the NEA for all artists who make over half a million dollars a year from their work.
That’s job one: Tax! Not disband the thing and turn the money over to the states to let local government use it as they prefer, but Tax! Tax! Shovel the coal into the chuffing, billowing maw of Jabba the Fed!
Sorry. We’re getting off on the wrong foot. The Federal-funding argument was lost a long time ago. As with so many things, opposition to Federal funding is equated to opposition to the thing itself. The existence and healthy survival of these things before Federal intervention is meaningless; what seems to count above all is the satisfaction some get from knowing there is a National Something or other, complete with assistant special directors for coordinating things, because God knows we couldn’t produce art if someone in Washington wasn’t coordinating it all.
But before we go on, consider the National Endowment. I’m just guessing, but I’ll bet the National Endowment for the Arts was conceived as some sort of middlebrow self-improvement program - sending Pablo Casals LPs to schools, helping small towns put on “Our Town,” subsidizing museums so they could put on challenging works like gigantic Calder mobiles, and paying off the survivors when the damned thing snapped a cable and carved a tour group in stir-fry slices. I’m sure it still funds good things. But let us risk a headache and try to think of a few art forms we managed to create without its assistance:
Jazz
Blues
Rock and Roll
Every movie made in America
Skyscrapers
Painting that looks like something
Sculpture that looks like someone
As it happens I like modern art, so this isn’t some philistine sneer at funny pitchers what don’t look like Whistler’s Mama. I’m not even opposed in principle to state funding of the art, for two reasons: 1) the monarchs and the church did a fine job of it for millennia, and 2) if some small town wants to help defray the cost of a play in the school gym, fine. But I have to draw a line, because if I say it’s good to support orchestras in large cities with Federal money, then anyone gets to support their favorite kind of art, even if it happens to be guillotining paper-mache replicas of the Founding Fathers on Presidents Day. You get your art, I get mine.
“Yes, but yours stinks” is not a useful reply. Accurate, but irrelevant.
But I digress, way to soon. To return to his point:
I would attempt to pass legislation on a special tax dedicated to the NEA for all artists who make over half a million dollars a year from their work.
. Not actually pass it, but attempt it, perhaps in the form of pantomime or someone standing outside Congress declaiming mocking remarks in the heroic meter, or via a recreation of “Mr. Smith Goes to Washington,” complete with some wise old jurist at the end who notes “doesn’t seem to be anything in the Constitution about taxing people according to their profession,” and then there’s a crestfallen sigh. “But that doesn’t mean we shouldn’t do it anyway!” Hurrahs, hats through in the air, etc.
I would create a new version of the Federal Arts Project of the 1930s and ’40s, which would also be funded by this surtax from the artists who have succeeded.
That’s right: send people to write unreadable tour guides to the states, based on a tax on those many, many artists who make over $500,000. While you can expect Alec Baldwin to support it, you can also expect some enterprising blogger to question whether or not he qualifies anymore.
This particular act would require Congress to define art, by the way. I’d love to hear people insist that Thomas Kinkead isn’t art suddenly insist that it is, when they think they can get their mitts on his cash. Architecture is art; do we tax the fellow who makes a living designing boring suburban office structures? No? So quality, according to subjective state-defined standards, is the criterion for determining who’s an artist? Oh, bring THAT one on.
I would attempt to create a superfund from private donations from all studios or Apple, for instance, in order to replenish the coffers. That money would go to school arts programs, which have been slashed for years.
Pssst: Apple is a computer company. I think he just chose them because A) they’re successful and hence have lots of money sitting around doing nothing, and B) you see people making art with their machines. This is like taxing Ford to pay for literacy programs, because people use cars to drive kids to school.
It’s strange that it’s either Apple OR the studios. Stranger still that it’s a SUPERFUND, which he may believe has special powers and a flowing cape and can only be defeated by a rider to the bill that mentions the word “Krypton.”
As for school arts programs, I’m all for them, but A) there’s no guarantee extra money would do much, and B) there’s certainly no guarantee that X amount of dollars would ever be regarded as sufficient. Look: I had zero school arts programs as a kid. I mean, we drew, we did collages, paper mache, potato art, all that low-tech cheap stuff, but that was it. Yet somehow - in the grim barren achingly provincial reaches of North Dakota - I managed to acquire a love of painting, architecture, and classical music by the time I got out of high school. I didn’t grow up in an artistic family. But I had a history teacher who introduced us to Kenneth Clark’s “Civilization.” There was also this big building downtown called “The Library,” which has since been supplanted and universalized by the Internet. It’s possible, in other words, for kids to learn about art without having to raise the price of iPods. But I will concede that kids should learn art in school; I just believe it’s possible without extracting the money from a manufacturer of CPUs and operating systems.
I would create a national architecture czar in an effort to beautify our cities, the way André Malraux beautified Paris when he was the French minister of culture.
While I support city “beautification,” and can see the rationale behind Malraux’s plan to save facades while sacrificing the structures behind them - something imported to America in the 80s and 90s, and derisively called “facadomy” by critics - a “national architecture czar” would have no power, only a bully drafting table. And we can disagree about what urban beautification is, too - I like lots of signs and neon and visual bustle; for others it’s Street Art. I think the powerlines stretched over the street to power the light rail are hideous throwbacks. Others disagree. But we’ll get back to architecture in a bit.
I would move away from the focus that the NEA has had on minor ethnocentric and folk projects . . .
Good! Not because we don’t need to study and celebrate these things, but if he thinks they’ve been focusing on the subjects, well, it’s time perhaps to turn our attention to something that binds the nation together. What does he propose?
. . . and move into a broad, far-reaching series of projects that question the role of religion and commerce in the life of the nation
Ah. Of course. It’s the perfect distillation: take the money from people who have used commerce to succeed in the arts, so we can question the role of commerce in the life of the nation. Ideally, common people will become Aware and have Consciousness Raised from its gutter-state to the Olympian heights where one can see a magnificent future, a time when the role of commerce has been questioned with the force and incisive detail you only get from people who can’t get anyone to pay them for what they do.
Sorry; unfair. Don’t mean to equate monetary success with artistic success, of course. But what if the result of this far-reaching project - sorry, a broad, far-reaching project - was less commerce? Wouldn’t that mean fewer people able to fund the Great Questioning?
Unless we found additional sources to tax, of course. That’s often a possibility.
However the whole “question commerce” thing works out, I’m interested how we go about questioning the role of religion in the life of the nation in handy art form. If you honestly think we’ll get a sober, fascinating account of the history of religion in America - a totally obscure and ignored subject, I’ll admit - you might have to brace yourself for an “installation” that has a hundred plastic baby dolls hanging upside down, with the title - UNWANTED - as the only indication it’s a protest against contraceptive laws of the 1930s. (There might also be a video installation with interviews of old ladies who couldn’t get a diaphragm in Missouri in 1951, in case you’re not walking around retroactively mad at the past STUPID PAST.)
It would be amusing for someone to use the money for a play that describes, oh, something good done by people of faith, based specifically in the tenets of their faith. I know, I know - c’est absurd! But bear with me. Say, a play about Episcopalians who go to Zaire to open a clinic. Hold out that promise for a cautionary tale of post-imperialist zeal and cultural arrogance, then refuse to provide it at the end! The missionaries are the good guys!
If it would help, people could comfort themselves by saying that the utter lack of irony was itself proof that the entire event was saturated with it.
I would encourage the Office of Faith Based Initiatives to begin a dialogue about tolerance, acceptance, democracy and theology . . .
All at once? Or can we take them alphabetically, and break for lunch after democracy?
. . . in order to encourage a greater understanding of the powerful link between politics, religion and culture
Again: no one’s ever thought about these things, and we need government money to make them do it. Mind you, the fellow is talking about the National Endowment for the Arts. And he’s already moved into telling another government entity what to do.
Sorry, he would encourage them. I have no idea what this means. A phone call and a letter? A phone call, a letter, lunch? A follow-up email after a week or two?
Re: Re: Re: Dialogue on tolerance, acceptance, democracy and theology in order to encourage a greater understanding of the powerful link between politics, religion and culture
Just wanted to touch base to see how that greater understanding of the powerful link was coming along
Jon
>> Sorry I didn’t get back to you; we’re busy this week coordinating food shelves awareness week - lots of people to feed.
I would insist that a percentage of income from networks (both cable and traditional) go to fund both NPR and PBS.
Why not? All those idiots sitting around watching tripe like “The Wire” should be compelled to pay for programming they do not want and do not watch. But why stop there? People watch movies on premium cable, so we should be able to tax any form of movie distribution. Netflix gets off scot-free, which must chap him fiercely. You there! Boy! Figure out a way to tax free movie downloads! I don’t know how, just do it! I insist! Some sort of . . . meter thing. Like they do with gas.
On the other hand, maybe he’s on to something. Maybe it’s time to tax the HuffPo and use the money to fund small, unnoticed arts blogs; since the HuffPo has ads, this might also spur encouragement about the beginning of a debate about the role of commerce and art. Tax corporations that sponsor “Prairie Home Companion,” and use it to fund smaller radio shows that lack enormous marketing wings. Just a thought. But I insist!
I would bring symphonies to small towns.
Parade them through town with elephants, too. Actually, many small towns have orchestras - the Fargo-Moorhead Symphony Orchestra has been going for years, for example. All it needs is A) someone to make a movie about stupid funny-talking people in Fargo formin’ an orchestra dere, ya, an’ playin that Bay-toven, or B) a heartstring-yanking movie about a hip but disillusioned East Coast musician who goes to Fargo to take over the orchestra, and finds his purpose in life restored, partly thanks to a saucy local gal who’s not only cultured but down-to-earth, yet different from most of the people in town. (This would have been the Susan Sarandon part 15 years ago, but now she’s the saucy local gal’s Earthy Mom.)
While it is a good thing to see an orchestra, people in small towns have gramophones that can reproduce music in remarkable quantities. But this is a small point.
I would wear a suit and tie all day, every day, and entertain cultural figures in my Georgetown brownstone and raise money through small private fundraisers there, in addition to initiating an Obama-like Internet fundraising machine for the arts, made up of small donors.
Complete with questionable credit-card policies? Fine; it’s private. And it’s also so cute! A suit and a tie, entertaining Cultural Figures - who gets to play Truman? Who gets to play Lennie Bernstein? Oh, it’ll be just like New York in the sixties! Can we get some Black Panthers for authenticity? Don’t tell them about the defunding the ethnic-folkways part.
I would instruct the Smithsonian to develop a wing of political art . . .
Jesus wept. For one thing, all art is political. Right? I was instructed as such in college by a rather acerbic peer, who noted that even the pure tones of Mozart were tributes to the aristocratic order, and as far as Bach goes, well, I got your dialogue between religion and culture right here, in D minor. What he means is the dreary, tendentious, angry, self-righteous, hectoring claptrap that makes the usual suspects compare a crude photocopy of Bush with bloody fangs drawn in to Goya’s accounts of wartime atrocities. Or maybe not; I stopped reading too soon.
. . . whose first exhibition would be about propaganda, torture and the Constitution.
Yes, let’s explore the relationship between propaganda and the Constitution. There isn’t one. Briskly we move from this room to the next, where we have 846 variations on the Abu Ghraib guy with a hood on his head.
This is my favorite part:
I would ask prominent artists and writers to curate shows across the country on this theme. It would be about the effects of war on the soul of a nation. It would be very complex and draw conclusions without simple bromides of either ideology.
It’s like reading a nine-year-old’s account of his secret hideout: And it would have a submarine base in a secret cave and it would be very big and have a nuclear power machine. Why would it be very complex? Because it would be.
Super NEA-Man from the planet Brownstone goes on:
I would ask Robert Hughes, Wes Anderson, Bill T. Jones, Frank Gehry, Meryl Streep, Suzan-Lori Parks, Eric Fischl and John Adams for their advice as often as possible, mainly because I admire them.
And want to have lunch with them and have them come to my house when I wearing my special suit! What would you ask Frank Gehry about, anyway? Frank - if I can call you that - I’m considering a new wing of the Smithsonian to join the other structures on the Mall, and wonder what you’d put up.
“Well, I think a large, irregular-shaped aluminum structure that confounds the eye from almost every angle might be the ticket. Or perhaps a building that vaguely recalls the human scale of classic urban structures, but contorts them in a way that makes the viewer feel he has been dosed with animal tranquilizer.”
Many others too, but it is too long a list. I would leave the NEA a far more powerful and vital institution than it was when I arrived.
And special art flames would come out of a hole in my wrist and defeat bad artists, who are all minions from the evil Emperor Roc-Wel.
I would make sure that I was a frequent guest at the White House, and I would always bring presents of art for the first children, so that when they grow up, they would include art into whatever magnificent endeavor for the public good that their marvelous parents helped shepherd them into.
Unless, God forbid, they grow up to be lawyers and go to work for a successful firm. Fie on that! Oh, wait. He ends:
If anyone in the administration wishes to discuss this, I am not too hard to find.
He’s the guy in the suit in a brownstone with plates of appetizers and hors d’oeuvres arranged just so, sitting on the edge of the sofa, waiting for the door to ring. Which it will. It has to. Oh, it just has to.