Monthly Archives: November 2009

The American Saturnalia

The first shopping day of the Christmas season is upon us, with the usual crowds, the frantic sales and the inevitable parking nightmare. Even the name—Black Friday—suggests that Americans are deeply ambivalent about this strange shopping holiday. But is it, perhaps, the most American day of the year? A spectacle of commerce and crowds, consumerism and credit cards, a day structured like a poll (vote with your pocketbook) on the state of the American economy? Is Black Friday the perfect and most fabulously self-reflective, narcissistic American holiday we’ve invented?

Every December, we regret the increasing commercialization of Christmas, as if we’re slipping further and further from some ideal understanding of the holiday (last seen in a Dickens story or film by Frank Capra?). But let’s be hardheaded and pragmatic about the facts. Christmas isn’t devolving from some Christian fantasy of love and regeneration. That ship has left the harbor. No, it’s evolving into the perfect, five-week spectacle of Americana, with all our best American gadgets and gizmos on display, with all of our basic habits of the heart—desire, acquisitiveness, competition—perfectly exercised. Black Friday is the first day of the American Saturnalia, a festival of capitalism and technology and American self-love all rolled into one.

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Thanks

          In late November, the shade grows quickly over the landscape in the hills behind Albuquerque. From about 3 p.m. on, the shadows surge longer and longer, and if you’re hiking on the backside of the Sandia Mountains, it’s a chiaroscuro drama. But sometimes, as you walk up a gentle canyon, you come over a rise and there’s a pristine shaft of light glowing on the trees just above your head. If you could stretch your frame a few feet higher you might dip your hand in the sunset. We live in light and dark, we communicate between them. To see them both at the same time is…to be embodied, to feel sadness and joy, to appreciate. Something.

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Bush Builds a Library

          Designs for the new George W. Bush library and presidential conference center were unveiled last month. The architect is the Dean of the Yale School of Architecture, Robert A.M. Stern. Of Stern’s proposed design, I write:

 Is it a great building? Robert Stern doesn’t design great buildings, at least in the sense of buildings that are bold and memorable, that carry on the dialectic and drama of the grand tradition of architecture. His work is a pause in that tradition, a bracket within the forward-driving discourse of architectural history. They are buildings for people who have grown tired of architecture with a capital A.

But Stern’s work, in retrospect, often seems like the ideal solution to a particular problem. In this case, there are two problems that have been well solved. The first is the difficulty of characterizing Bush in architecture without parody or aggrandizement. What other style would have worked? Brutalism? A glass box? A neoclassical pile in the Washington style? Bush was so full of contradictions, so seemingly hostile to the very things that define most important architects — intellectual sophistication, metaphorical games, aesthetic refinement — that it’s hard to imagine a more meaningful building ever fitting him comfortably.

           The second problem I mention is the larger issue of whether presidents should be in the business raising the kind of money it takes to build these living sepulchers. I’m not sure it’s good for democracy.

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Newspapers and Museums: The Same Dilemma

            I’m personally allergic to historical reenactments and most forms of interactive history telling. I think all too many museums and historical sites grasp at straws, technically and aesthetically, when they try to recreate the way history is told. But I acknowledge the problem of falling attendance, reduced engagement and the side effects for the history business of living in an over-entertained, over-stimulated, over-busy society.

            The comparison between the newspaper business and the history business is telling. Even the attendance figures at a place like Colonial Williamsburg are eerily familiar to the subscription numbers of major newspapers. They peaked at an annual high of 1 million in the 1980s, and have dwindled to about 700,000 recently, a downward curve remarkably similar to that of a large metropolitan daily. Who have they lost? Essentially the same people that newspapers are losing. And on what do they pin their hopes? In many cases it’s technological innovation that is just emerging but has yet to reveal its real impact (subscriptions on Kindle? iPhone aps that turn the museum into an enhanced reality zone?).

             I spent a lovely day at Williamsburg earlier this month, and wrote up some the changes that are happening there, in the guise of a story about their most recent addition (the first major reconstruction in more than fifty years) to the storied Duke of Gloucester Street. Williamsburg has the deep pockets to think this through, so their innovations will be closely studied by many less well-endowed museums. I wish them luck.

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Create Christmas Memories, Now!

       

                                                                          I dropped into a place called National Harbor this afternoon. It is a large convention center, entertainment and hotel district created ex nihilo just a few years ago on the banks of the Potomac River south of Washington, DC. They were putting up the Christmas decorations, including a large Christmas tree made of a conical metal frame onto which patches of greenery were being attached rather like thatching a roof. The tree wasn’t even half finished, so you could see plainly that the whole thing is hollow.

            Inside the main convention center hotel a sign announced upcoming Christmas events, with this odd bit of advertising text: “Create your family holiday memories today.”

            “Create your memories” is an odd locution. We tend to think our memories are made automatically, that they follow as inevitably on experience as echoes follow noise. To be sure, at some level, we “create” our own memories, both by choosing which experiences we have, and through whatever process in our brains memories are physically forged. But the expression “create your memories” seems too active a way of putting it, and it seems to leave out a step, as if we forge our memories directly, without actually having the experiences upon which memories are based.

The phrase suggests that we create memories rather like we take snapshots, and I think this is why the phrase troubles me. Taking snapshots is a very good way of not having experiences, of sending the data of what we see directly to the digital memory bank without any particular engagement with the reality in which we’re present.

There’s one very big advantage to conceiving of memory this way. It cuts memory free from experience, which is often disappointing, and sometimes downright sad or miserable. If we can create our memories directly, without much reference to the actual experience, then perhaps we can move directly from anticipation of pleasure to the memory of pleasure. The middle, the pleasure or experience itself, is quietly moved out of the picture. And that’s a good thing if what was actually experienced wasn’t, in fact, very pleasurable.

This is what “experience”-based places such as National Harbor are meant to do. They are not actually places to experience much at all, but they are filled with mildly pleasurable stimuli that look good in snapshots and sound great when you “remember” them to people at home (the fountains, the beach, the wharf!).  They are places to create memories, not places to be, or dwell, or think, or have adventures and take risks. Christmas is to holidays what National Harbor is to architecture. It is not a meaningful event in itself, but a time to “create memories,” take pictures, file away burnished narratives and tales of Christmas past.

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Cultural Rewind

The Post gave me a little bit of cyber real estate  today, an online discussion group called Cultural Rewind. I pose a question, readers take up the thread. It’s a mix of popular culture and some of the esoterica I cover as culture critic, with the goal being something a little different from the usual online surveys and polls. It debuted today.

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Afro-Mexican History

I have a special fondness for the Smithsonian’s Anacostia Community Museum, a small outpost of the big brand located a short drive from where I live. The museum used to have a running loop of Martin Luther King’s “I Have a Dream” speech as part of their main display, and it was there that I was first impressed by the remarkably capitalist rhetoric of that text:

In a sense we’ve come to our nation’s capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise that all men, yes, black men as well as white men, would be guaranteed the “unalienable Rights” of “Life, Liberty and the pursuit of Happiness.” It is obvious today that America has defaulted on this promissory note, insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check, a check which has come back marked “insufficient funds.”

I visited the museum during the inauguration week festivities for Barack Obama and listened to the speech once more in the midst of the growing financial crisis with new ears. I wondered, at the time, if King really thought in the terms of this metaphor, or if he chose it because it rationalized his cause in the eyes of a pragmatic, essentially conservative society.

I also love the museum because you can almost always have it pretty much to yourself, it’s so far removed from the main paths of the Washington tourist circuit. But they now have an exhibition that should change that. “The African Presence in Mexico: From Yanga to the Present” is a traveling show, first seen at the National Museum of Mexican Art in Chicago in 2006, but it’s not to be missed. It documents, methodically and with historical detail, the presence and absence of people of African descent in Mexico over the past 500 years. The disappearance of Africans as a “third root” of Mexican identity was a complicated and ambiguous project, which the exhibition explains with nuance and precision. I wrote about the show for the Post, and I recommend it to anyone within striking distance of Washington, DC. And don’t forget to pay a visit to Frederick Douglass’s house, nearby, which at this time of year, with the leaves down, has one of the best views of the city.

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New Deal for Artists

            I missed the opening of the Smithsonian American Art Museum’s “1934: A New Deal for Artists,” which displays art made with the first tranche of money directed at artists under President Franklin Delano Roosevelt’s short-lived Public Works of Art Project. When I finally made it to the show last month, I was struck by comments in the visitor’s log book, many of them evincing a powerful nostalgia for government supported art. After reading Morris Dickstein’s book on art during the Great Depression, and looking through another volume, “When Art Worked: The New Deal, Art, and Democracy” by Roger Kennedy, I ruminated on some of the issues involved with public funding for the arts then and now. The story appeared in last Sunday’s Post.

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Visual Acoustics

The title, which I don’t much like, strikes me as one of those clever mixing of ideas and media that doesn’t yield anything meaningful. But the film Visual Acoustics is great fun for people who love architecture, especially those who already know the huge role that photographer Julius Shulman played in promoting the mid-century modern architecture that defined an era and an ethos. I reviewed it in Friday’s Post.

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Richard Moe retires

Richard Moe, for 17 years the head of the National Trust for Historic Preservation, announced his plans for retirement today. He’s had some stunning victories since he came to the Trust in 1992-93, including a famous battle against the Walt Disney Company’s plans to build a theme park near some of the most historically hallowed ground on the East Coast. Moe also helped build the Trust into a more powerful, more flexible, more nationally connected organization. I’ve had lunch with him twice, and it was immediately clear that he is endowed with the kind of intelligence and charisma that makes Washington (sometimes) a fabulous place to do power. Here’s my story (with a dramatic recap of the Battle Against the Mouse), which I endeavored to not sound like an obit.

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