{"id":1482,"date":"2006-11-03T10:31:19","date_gmt":"2006-11-03T18:31:19","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2006\/11\/art_and_misdirection\/"},"modified":"2006-11-03T10:31:19","modified_gmt":"2006-11-03T18:31:19","slug":"art_and_misdirection","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2006\/11\/art_and_misdirection.html","title":{"rendered":"ART AND MISDIRECTION"},"content":{"rendered":"

I’m a sucker for a pretty picture. Like this one, made by the guy who used to be Newsweek’s art critic:
\n

\"Peter<\/a><\/center>
\nAs you can see, he’s gonna be there to talk about stuff. I know the guy. So if any of you do show up at the gallery, tell him you saw this notice. It will impress him, I hope, and make him grateful.
\nNow here’s another picture:<\/p>\n


\nThis one is not so pretty, but I like it, too:
\n

\"Prestigiditation\"<\/a><\/center>
\nIt was pointed out by the smart guy on my staff of thousands who’s been reading French media philosophe<\/i> Jean Baudrillard and applying his simulacrum-of-reality theory<\/strong><\/font><\/a> to just about everything — democracy, Iraq, free speech, Frank Rich, David Brooks — but especially to the rules of political misdirection<\/strong><\/font><\/a>. The prose is a little turgid for my taste, but the rules are clear.<\/p>\n","protected":false},"excerpt":{"rendered":"

I’m a sucker for a pretty picture. Like this one, made by the guy who used to be Newsweek’s art critic:<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-1482","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-nU","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1482","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=1482"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1482\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1482"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1482"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1482"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}