Reviews are the oddest things. It boggles the mind that “Black Power,” a Hilton Als review of the film Moonlight, and “Agnes Martin, a Matter-of-Fact Mystic” by New Yorker art critic Peter Schjeldahl are approximately the same length, in the same magazine. Moonlight is a sprawling two-hour movie, spanning a child’s journey through adolescence to adulthood, full of color, motion, and noise. The Agnes Martin retrospective exhibition at the Guggenheim Museum, on the other hand, is a subdued and esoteric group of paintings. Besides being examples of very different media, these two subjects serve as a stark juxtaposition of “popular” and “high” culture, as much of a contrast, funnily enough, as black and white.
With the wildly disparate levels of stimulus inherent in these subjects, it’s impressive that these authors fit them both in the same 1500-word review format in the New Yorker. I think their keys to achieving this are adjusting the given context and in doing so developing very different relationships with the audience.
Als leads off with the deeply personal, confiding in us about his “anxious, closeted childhood” and explaining the power this film holds for him as a queer black man. He grew up “in the era of Ronald Reagan, Margaret Thatcher, and AIDS,” never believing his story could be told on the silver screen until now. His repeated use of the first person enables intimacy and insight into his experience, which lends his discussion of the film extra weight. When he does include the viewer in his insights later on, he still includes himself using first-person plural: “Moonlight undoes our expectations as viewers…” He can focus more on his own reactions because he trusts his audience to be able to watch a film and get their own reading out of it. His job is to put his reading in conversation with yours. He achieves this by qualifying his readings: “Juan follows, entering through a blasted-out window, a symbol, perhaps, of the ruin left by the riots.” Something as simple as a “perhaps” invites the reader to really think about what he’s saying and agree or disagree.
For better or worse, Schjeldahl does not seem to trust his audience quite as much with the high-brow set of paintings by Martin at the Guggenheim. His use of second-person comes off as more prescriptive. After an admirable close-reading of a set of paintings that just look…… white, he follows with, “When you notice this [detail], the fields of paint seem to jiggle loose, and to hover. If you look long enough — the minute or so that Martin deemed sufficient for her works — your sensation-starved optic nerve may produce fugitive impressions of other colors.” Me? I notice this? His expectations would be easier to handle if they weren’t trying to force a religious experience (“secular pilgrimage”) on me. He attempts to teach my “heart” to be “ambushed by rushes of emotion,” but that’s not something you can force.
This lesser confidence in the viewer further manifests in the Martin review as an excess of biography. Citing a new biography of Agnes Martin by Nancy Princenthal, he outlines the artist’s entire life and career, making connections between her mental illness and the controlled, soothing geometric paintings she made. It was interesting to read as an art historian, because the field still debates the legitimacy of using biography to analyze work. This emphasis on biography was in stark contrast to the review by Als, who used more of his own biography than that of the filmmaker Barry Jenkins. The only bit of information deemed relevant to Als is that Jenkins “was raised in Liberty City,” the film’s setting, and therefore he “understands from the inside out.” Because again, the film will be able to speak for itself to its audience.
The more accessible nature of the film also enables Als to be more poetic and suggestive, skating over the rich scenes rather than plodding through an interpretation. One virtuosic description would lend itself wonderfully to spoken-word poetry.
“He’s a dope dealer, so there’s that, too. He may be a boss on the streets — his black do-rag is his crown — but he’s intelligent enough to know that he’s expendable, that real power doesn’t belong to men like him. Crack is spreading through the city like a fever.”
These kinds of poetic responses are enjoyable to read on their own, but again leave enough room for dialogue with the reader or film-viewer to think their own thoughts. Schjeldahl, in contrast, lets the reader be swept up in the narrative of Martin’s life, which is fascinating, but ultimately it doesn’t leave room for a Kantian “free play of imagination” above the facts.
Maybe I have been a little too hard on Peter Schjeldahl. In these pieces, I think of Als as a conversationalist and Schjeldahl as a coach, and I would definitely say there is room for both roles. I actually really appreciated the use of biography in the Martin review, because it does give the reader much more to grab hold of, beyond the white paintings described. Agnes Martin must have been a singular challenge to review. There is so little about her work alone for the popular New Yorker taste to invest in, so it makes sense to coach the reader through the experience of viewing in a way that feels rewarding, even spiritual, although for me it was a little heavy-handed. At the same time, there is something rewarding about being left to your own devices in Als’s piece after being given a prompt (or two including the film). While the authors have very different styles, the overlap occurs in their effective use of context: some media and artistic styles are just going to require more critical interpretation for a popular audience, despite the wise words of Susan Sontag.
The key as a reader is to be able to tell the difference between a genuine experience of pseudo-religious awe and one prescribed by the New Yorker.
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I really liked this. I, too, wrote about the use/power of pronouns this week and so I was especially interested to hear your thoughts about how these two critics use them. Your analysis of the way that each critic writes is effectively tied in with summary about the articles themselves (i.e. good balance of zoom in/zoom out).
I think you do a really nice job of categorizing each critic in the sentence: “I think of Als as a conversationalist and Schjeldahl as a coach, and I would definitely say there is room for both roles.” I hadn’t thought about categorizing critics. I think that the way you do it both clarifies your argument and helps me, as a reader, clarify my own understanding of the two different styles.
But, best of all, is the final line. I like that it is conclusive, but still open—I could meditate on that statement for a while.
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Focus on Shared Interest: Starting by mentioning your own work on pronouns creates a sense of connection and shared interest.
Balanced Approach: You commend the writer for maintaining a “good balance of zoom in/zoom out”. This effectively ties the analysis of writing style with summaries of the articles themselves.
Categorizing Critics: Your observation about categorizing Als and Schjeldahl as “a conversationalist” and “a coach” is insightful and original. It not only clarifies your own argument but also provides a helpful framework for the reader to understand their contrasting styles.
Powerful Ending: You highlight the strength of the final line, which is “conclusive, but still open-ended,” inviting further reflection.
Overall, this is a well-written and engaging comment that demonstrates a good understanding of the analysis. Your shared experience with pronouns makes the comment even more personal and relevant. You effectively highlight the strengths of the writing and provide valuable insights.
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Very interesting comparison Linnea. I was struck that the two critics face very different kinds of art and, as you suggest, this shapes their voices as critics. One larger issue that your post, like Julia’s, reminds us is that cultural criticism always raises the question of public address: not only the obvious and important question of who gets to speak, but also how do we wish to address each other in terms of communicating judgment? In this way, cultural criticism taps right into political frameworks of a democratic culture. Not just who speaks to whom, but how they do so, what we deem proper, or not. Big stakes, even in these relatively “high brow” reviews, I suppose. I liked your use of images almost within your prose to play with the contrasts between the materials Als and Schjeldahl critique. And nice writing throughout. Thanks.
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