On Indifference and Outrage

Those high-brow fellows over at Commentary magazine recently published a fine essay on the art world’s self-inflected irrelevance, and we recommend it to all our culture vulture readers who still take an interest in such things. We’ve already fulminated a few times on these pages about pretty much the same unhappy point, though, and what most struck us was an opening anecdote that nicely illustrates an even bigger problem with what people are now indifferent to and what still offends them.
The author, who seems such a reasonable thinker that we are pleasantly surprised to note he is somehow the Faison-Pierson-Stoddard Professor of Art at Williams College, recalls showing one of his classes the grainy black-and-white film documentation of a 1971 performance art piece by the late Chris Burden, which involved having a friend shoot him in the arm with .22-calibre rifle at close range. We can still recall how the alleged artwork provoked a wide range of reactions even at such a late date in modernity as 1971, but the 21st Century students who watched were mostly interested in the legal ramifications and tried hard to it put into the context that savvy art students now understand their professors expect, but were otherwise indifferent. The professor seems somewhat surprised at such a dispassionate reaction to the spectacle of a man being shot in the arm at close range by .22-calibre rifle, but we are not. As the professor notes in the rest of his essay, even by the time Burns got around to it this sort of shock-the-squares stuff had already been going in the art world since approximately the end of World War I, and that Burns had to top it by having himself famously crucified atop a Volkswagen Beetle, and that subsequent attempts at giving offense have required ever more over-the-top outrages, so by now indifference to such efforts is both the sophisticated and sensible reaction.
What strikes us as odd, and went unmentioned by the professor, is that these same 21st Century students are the ones who require “trigger warnings” and “safe spaces” and protection from “micro-aggressions” and outright censorship of Ovid or Mark Twain or The Bible or that vaguely Republican commencement speaker or any other vestige of pre-World War I Western Civilization that might call into question the comforting consensus of academic opinion. Such strangely differing standards of what should be met with indifference and what should be met with offense are by no means confined to the academy, or to those corners of the world only culture vultures still take an interest in, but also define the broader public’s approach to politics.
Thus The New York Times is outraged by the four traffic tickets that Republican presidential contender Sen. Marco Rubio has received over the past 20 years, but seemingly indifferent to the four brave Americans who were killed in an American consulate in Libya that failed to receive requested security from Democratic presidential contender and former Secretary of State Hillary Clinton following her ill-fated war against Libya. Thus the civil rights establishment is aroused to hash-tagging “black lives matter” and rioting in the streets when a black man is killed by police in even the most justifiable circumstances, yet indifferent to the vastly greater number of black men killed by other black men, and further indifferent when that horrible number inevitably increases after the hash-tagging and rioting inevitably hamper law enforcement efforts in poor black neighborhoods. Thus it is that polite opinion holds the insane profligacy of the Greek government is not only to be tolerated but forever to be subsidized, while a corporation that prefers not to pay its minimum wage employees any more than they produce is considered outrageously greedy. Thus it is that the mass executions of homosexuals in the Islamic world is met with sincere attempts to understand context and generally with indifference, while some Baptist confectioner’s reluctance to bake a gay wedding cake is met with widespread outrage.
A couple of years after Burden’s performance art piece provoked widespread outrage the public was so shocked by executive lawlessness that President Richard Nixon was forced to resign, with the second article of impeachment being that he had dared raise the possibility of using the Internal Revenue Service to harass his political opponents, but these days the president flouts immigration law with powers that even he had previously stated he does not constitutionally possess, and the stories about how the IRS actually did harass his political enemies and then engage in a Nixonian but up-to-date cover-up continue to trickle out, yet it is met with indifference. Perhaps it’s the same process of the public becoming inured to indifference by endless repetition, but that can’t explain why there’s still plenty of outrage left for far less inconsequential matters.
We continue to read about those high-brow culture vulture issues even in this age of art’s irrelevance, and to follow all those silly academic quarrels going on within the “safe spaces” from “micro-aggressions,” even as we recognize that by now they are of far less importance than the first four dead Americans from a failed foreign policy and the overlooked black lives that are taken while the police are under indictment and the eventual global consequences of the profligacy of the Greeks and just about everyone and the horrible fate of homosexuals in the Islamic world and the injustice being done to traditionalist confectioners in the name of homosexual rights, because we think they also matter. A society that can no longer recognize the difference between art and some nihilistic nutcase inviting a friend to shoot him in the arm, or prefers the comforting consensus of contemporary academic opinion to the challenging truths of of Ovid and Mark Twain and The Bible and that vaguely Republican commencement speaker or any of the rest of pre-World War I western civilization, is unlikely to choose wisely about what should be met with indifference and what should be met with outrage.

— Bud Norman

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