Kissinger Receives First Burke Award

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Dr. Henry Kissinger at The New Criterion's inaugural Edmund Burke Award with editors David Yezzi, James Panero & Roger Kimball

THE WALL STREET JOURNAL
May 1, 2012

Kissinger Receives First Burke Award
by Gary Shapiro

Eighteenth-century statesman Edmund Burke looked favorably upon the American Revolution: If he were alive today, there's no reason to think he would not laud an American award in his honor, too.

Patrons and connoisseurs of culture assembled to celebrate the New Criterion, the New York-based monthly journal of arts and culture, which conferred upon Henry Kissinger its inaugural Edmund Burke Award. Last week's event marked the 30th anniversary of the publication.

Looking over the intimate gathering, it appeared as though the mastheads of prominent conservative publications had sprung to life and joined the party. Three editors at large, Myron Magnet of City Journal, John O'Sullivan of the National Review and Norman Podhoretz of Commentary magazine, rubbed shoulders with figures such as R. Emmett Tyrrell Jr., the editor in chief of the American Spectator. The think-tank world was represented by those such as Lawrence Mone, president of the Manhattan Institute. Roger Kimball, the editor and publisher of the New Criterion, rose to introduce the famous diplomat. He said Mr. Kissinger needed no introduction, but, nonetheless, found words to offer.

"I hear it often said that it's difficult to introduce me," said the former secretary of state. "But no one enjoys an introduction more than I do." The audience laughed when Mr. Kissinger began recounting self-deprecatingly how his late friend William Simon often said that Mr. Kissinger's knowledge of economics was a good argument for ending universal suffrage.

As roast rack of lamb with Provencal herb crust was being cleared, all ears were on Mr. Kissinger, who delivered a talk on "The Limits of Universalism: Conservatism and Neo-Conservatism in American Foreign Policy." Fittingly for the Burke Award, he spoke about the implications of what Burke's thoughts on English liberty had for fraternal arguments between contemporary conservatives and neoconservatives.

The questions and answers following his talk electrified the room. One asked, "Of the great British statesmen of the 19th century, who is the most able and least?" Mr. Kissinger said one far ahead of his time was Lord Castlereagh. Another asked, "Does the United States have a foreign policy or have we lost our way?"

Those who wished they had attended will not be disappointed to learn that Mr. Kissinger plans to publish the lecture. (Note: If you are Henry Kissinger, you can publish just about anywhere you like.)

As the evening closed, Mr. Kimball presented the Mr. Kissinger with a first edition of Burke's political writings. Mr. Kimball noted that the book contained "Thoughts on the Cause of the Present Discontents." The presenter emphasized how a tract about the abuse of power and what can be done about it remains uncannily pertinent today.

A group headed downstairs for a nightcap, where Mr. Kissinger, in his famous submarine voice, held court on a chair near the right side of room.

Missing was the New Criterion founding editor, Hilton Kramer, who will be remembered this month at a memorial.

Those leaving did not come away empty handed, either. Each received a signed copy of Mr. Kissinger's book, "On China" with a New Criterion bookplate that has a visage of Edmund Burke peering out.

Capital and its Discontents: A Discussion Grows in Bushwick

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The panelists from "Capital and Its Discontents: Art, Money, Real Estate and the Changing Face of Bushwick": Peter Hopkins (Bogart Salon), Natalia Sacasa, Francis Greenburger, Ann Fensterstock, James Panero (host), Loren Munk, and William Powhida. "Burg n Bush," work in progress by Loren Munk, in background. Photograph by famous Bushwick documentarian Meryl Meisler

UPDATE: THE FULL DISCUSSION IS NOW ONLINE HERE

James writes:

On Thursday, April 12, I hosted a panel discussion at The Bogart Salon called "Capital and its Discontents: Art, Money, Real Estate and the Changing Face of Bushwick." You can read all about the run up here.

My panelists were Ann Fensterstock (collector, arts patron, historian), Francis Greenburger (collector, founder of Time Equities), Loren Munk (artist), William Powhida (artist), and Natalia Sacasa (Senior Director, Luhring Augustine). 

Art, money, and real estate. These three forces are changing the face of Bushwick. We may not agree on how it’s changing, but we can all agree that the neighborhood of Bushwick is changing quickly. By last count, there were over 35 galleries in Bushwick, up from just a handful a few years ago. Until recently, 56 Bogart, the venue for the panel, was mainly used for light manufacturing. Now it’s filled with new galleries and non-profits--some new, others well established and coming in from elsewhere. And in February, Luhring Augustine, one of the bluest of Chelsea’s blue-chip galleries, opened a 10,000-square-foot outpost in the heart of Bushwick, to the fascination and consternation of the neighborhood’s arts community.

As I said in the panel’s introduction:

If we are here to put capitalism on trial, and capitalism loses, I wouldn’t question capitalism. I would question our judgment.

Yet art, money, and real estate have always had a complex relationship, and lately it seems to be getting more complicated.

According to the New York Times, a chief executive at UBS wealth management informs us that “art is becoming more and more of an asset class.”

Money has always been a component of art, but now it seems to have become art’s defining characteristic. Bill Powhida, in your own work, you ridicule the business side of art, calling the dominance of money “asset classicism”--a term that may speak to our age better than any other.

Up to this point, one thing that has struck me about Bushwick is that the neighborhood seems to exist outside of the arts industrial complex you lampoon. Bushwick has developed something of a micro-economy of its own, with artists bartering with each other and tiny galleries selling work in the hundreds, rather than the tens of thousands, of dollars.

As Bushwick begins to attract a wider pool of collectors, is it a good thing, or is “asset classicism” not far behind?

Following up from "Capital," Kianga Ellis and Trent Morse are hosting "War Room" at the Bogart Salon through Sunday, April 15. Keep up with the discussion here. 

Real-time Twitter feed from Bogart

"Capital and its Discontents" on Artinfo.com

 

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Peter Hopkins of Bogart Salon introduces the panel. Showing: Francis Greenburger, James Panero, Ann Fensterstock, and Loren Munk. Off camera: William Powhida and Natalia Sacasa 

 

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Your host!

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Here is some press from the first Bogart Salon panel where Hrag Vartanian headed up a great discussion with Deborah Brown, Thomas Burr Dodd, Carolina A. Miranda, and Marco Antonini:

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William Powhida, "What Do Prices Reflect?" Graphite, watercolor, and colored pencil on paper, 2011. Courtesy of Postmasters Gallery.

The Brian Lehrer Show: What's A Museum?

James writes:

In a sad week, it was a bright spot for me to appear on The Brian Lehrer Show (WNYC) this morning to discuss my essay "What's a Museum?" Brian was a joy to talk to and his listeners did not disappoint. It was also an honor to take note of the passing of Hilton Kramer, founding editor of The New Criterion and friend who wrote so forcefully and perceptively about museum matters, among many other topics, decades before anyone else.

Great comments and questions came in to the studio on air (full switchboard) and online (50 and counting). The segment is now available for streaming and free download. Readers/listeners can continue the discussion on the show's comments page and at The New Criterion.