Word: viewer
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...exercise worthwhile, or will it start an ominous trend? The arguments are raging in broadcasting corridors. Though TV networks in recent years have increasingly sought ways to accommodate viewer feedback, they have traditionally drawn the line at turning over airtime to programs produced by outsiders. "Allowing your facility to be used for such a pointed attack from a particular ideological point of view seems to me bad journalism and bad broadcasting," says NBC Senior News Commentator John Chancellor. "It has to say to a lot of people who are watching, 'Basically, we were wrong...
Occasionally, Hartman's folksiness curdles into a gee-whizzy naivete, but the man who prides himself on posing the questions the viewer would ask is not given to self-doubt. Told of a comment by NBC's Friedman that "David Hartman is getting older and more tired," Hartman does not bat an eye. "Well, I am getting older," he says as he finishes his stretching exercises on the floor of his ABC office. "That's quite an observation." But is David Hartman weary? "I'm just as excited about this job as I ever was." So saying, Hartman...
Americans once tended to treat high art as a refuge from mass culture. Let Hollywood exude whatever schlock it wanted; let the Box leak its eight hours of imagery a day into the average viewer's skull -- there would always be the Manet or the Rothko in the museum to reorient the distracted eye. The demands (and rewards) of painting were one thing, those of mass media another...
...second mode is eclectic quotation from the image-haze, like a distracted viewer spinning the TV dial. Its leading practitioner in the U.S., among those born after 1950, is David Salle, 32. His main compositional device, putting emblems over a tangle of "transparent" figures, came straight from late Francis Picabia and perhaps from Salle's German contemporary Sigmar Polke. There is also a strong debt to earlier James Rosenquist. Salle draws, or rather traces, awkwardly and flatly. His imagery mimics the nullifying influence of TV, its promotion of derisive inertia as the hip way of seeing. Underneath, a congealed eroticism...
...vintage Ayn Rand. "They don't live there," he says of the workers in Federal Plaza. "It's not a neighborhood. The Government doesn't ask them what chairs they want to sit on. Why should they vote on sculpture?" Through Tilted Arc, he told the March hearing, "the viewer becomes aware of himself and of his movement through the plaza . . . Step by step the perception not only of the sculpture but of the entire environment changes." One would think it was meant to be like the black slab in 2001, bestowing consciousness on oblivious apes...