Why Aren’t Audiences Stupid?

Michael Kaiser has an article up on Huffington Post bemoaning how, in the age of the Internet, he can no longer sort the critical hoity-toity from the hoi polloi. Parabasis has a bit to say on the subject, too, but I felt compelled to offer my own two cents.

Originally this was going to be a snarky list of insults based on Kaiser’s anything-but-bulletproof commentary. But I decided against it, because–although I could make fun of the fact that despite making more than a million dollars a year as the president of the Kennedy Center, Kaiser apparently doesn’t know whether they’ve done a good job on a show unless a newspaper writer tells him so, or even how to tell the difference between a good writer and a bad one short of the name value of their publication–there is, in the end, only one problem with Kaiser’s arguments, and it has nothing to do with criticism.

No, the disgusting–and I don’t use that term lightly–truth is that Kaiser’s argument represents a world-view that thinks art is really just a cultural commodity to be sold to audiences, who, in return for suffering through work they often don’t even enjoy, can now claim a sort of sophistication they otherwise lacked.

Don’t be suckered. The idea of the critic that Kaiser laments isn’t the idealized public intellectual he tries to paint a picture of. This “serious” critic of “serious” art is, in the end, providing just another consumer report. This is a deeply important task in the world Kaiser imagines we live in–without a member of the cultural elite defining the value of a cultural good, how are the plebs supposed to know whether the ticket’s worth the cost?

That’s why the thing Kaiser finds truly “scary” is the idea that audiences can now voice their own thoughts via the Internet. Because the audience, of course, isn’t supposed to have its own thoughts. It’s supposed to accept the value of what it’s consuming and, should it find itself out of step with elite opinion, worry about its ignorance, about why it’s so wrong.

Unfortunately, since we’re not living in an F. Scott Fitzgerald novel, this entire idea of the value of art is aging as quickly as the Kennedy Center’s audiences. Back in the day, Gatsby tried to spend enough money to dye his blood blue. These days, even the old money live it up like gauche lottery winners. The idea of cultural sophistication as an important good the middle class needs to consume is waning.

But there’s nothing wrong with that. Make no mistake–the work that suffers in this scenario isn’t important art (important art being of as little importance to bastions of bourgeois sentiment as fun). It’s a middle-brow cultural commodity. It isn’t actually “serious” work at all. Serious work–work that pushes boundaries, speaks to audiences willing to listen, and inspires future generations–will continue to be made regardless of whether newspapers continue to appoint cultural arbiters capable of guilt-tripping the masses into paying inflated prices for middling work.

Michael Kaiser should grow up. Art needs defenders, not more complainers whose high-falutin’ arguments amount to little more than gripes about the fact that their middle-brow, mainstream institutions no longer intimidate people enough. Fear won’t stop the future, anymore than complaining about change helps shape the next generation of cultural institutions.

5 thoughts on “Why Aren’t Audiences Stupid?”

  1. RVCBard says:

    Part of me wonders why the elite seem to be just now figuring this out.

    1. cgeye says:

      Because the non-profit funding pipeline is drying up, and the foundation heads who supported the post-Ford Foundation regional theatre setup are retiring, as well. Nothing wakes up a regime than wondering where its next series of grants are coming from.

      1. Jeremy M. Barker says:

        It's true–in the end, these people are also in essence bureaucrats, and part of their mission is to preserve their own job. When I posted the Kaiser article to Facebook, an economist friend just sort of dismissed it as a matter of Kaiser representing his incentives. Ultimately, his job isn't to make "good art," it's to keep the doors open, and with the dissolution of critical authority, it's harder for a nonprofit to "prove" they're worthy of support.

  2. Pingback: 2AMt » Blog Archive » Invitation to the Dance
  3. Trackback: 2AMt » Blog Archive » Invitation to the Dance
  4. Guest says:

    Mr Kaiser is so far off the deep end with his ignorant commentaries that I hardly pay any attention. So thanks for the heads-up!

  5. Pingback: 2AMt » Blog Archive » Follow Friday: 18 Nov 2011
  6. Trackback: 2AMt » Blog Archive » Follow Friday: 18 Nov 2011
  7. Pingback: Democracy, Art & Critics, or, What Happens to Important Stuff If There’s No One to Call It Important? | Culturebot
  8. Trackback: Democracy, Art & Critics, or, What Happens to Important Stuff If There’s No One to Call It Important? | Culturebot
  9. richard kooyman says:

    I'm not a fan of Kaiser's Devos Institute of Art funded by the Koch Brothers of the midwest, the evangelical Dick and Betsy Devos Foundation, but one should be careful in expounding the virtues of "the public" without defining what public you are talking about. If you talking about the Devos Foundation, Dick Devos who ran unsuccessfully for Governor of Michigan ran on a campaign of turning over everything basically to the will of the people. They even went as far as funding the world's largest "ArtPrize" in Grand Rapids ,Michigan where $450,000 in prize money is award solely on public opinion. Well guess what happened, this year the top prize of $250,000 went to a 13ft tall mosaic of Jesus on the Cross. Don't give the keys to the car to the "voice" of the people unless you know how well they actually can drive.

  10. Pingback: Culturebot Conversations at Under The Radar | Culturebot
  11. Trackback: Culturebot Conversations at Under The Radar | Culturebot
  12. Pingback: Culturebot’s January Festival Resources Page | Culturebot
  13. Trackback: Culturebot’s January Festival Resources Page | Culturebot
  14. Pingback: Re-Framing The Critic for the 21st Century: Dramaturgy, Advocacy and Engagement | Culturebot
  15. Trackback: Re-Framing The Critic for the 21st Century: Dramaturgy, Advocacy and Engagement | Culturebot

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.

%d bloggers like this: