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\nIn the previous incarnation of [“culture wars”], the prevailing mood was mockery and more boundary expansion. All kinds of artists seemed eager to tick conservatives off, while testing how free freedom of expression really was. A queer independent cinema came out of this era. There seemed to be one erotic thriller a month. Tony Kushner wrote \u201cAngels in America.\u201d Madonna happened, over and over. Andres Serrano put a crucifix in a tank of his own urine, photographed it and called it \u201cPiss Christ.\u201d<\/p>\n
The animating crisis of that era was sex \u2014 from the paranoia, shame and judgment during the AIDS epidemic to the national cataclysm of the Clinton-Lewinsky scandal. The animating crisis of this era is power: the abuse, sharing and stripping of it. Empowerment. Art might not have the privilege of being art for art\u2019s sake anymore. It has to be art for justice\u2019s sake. Suddenly, but for very different reasons, the kinds of people who used to be subject to censorship are now the purveyors of a not-dissimilar silencing. Something generational has shifted, even among the cool kids and artsy-fartsies. Members of the old anti-censorship brigades now feel they have to censor themselves.<\/p>\n
So we wind up with safer art and discourse that provokes and disturbs and shocks less. It gives us culture whose artistic value has been replaced by moral judgment and leaves us with monocriticism. This might indeed be a kind of social justice. But it also robs us of what is messy and tense and chaotic and extrajudicial about art. It validates life while making work and conversations about that work kind of dull.<\/p>\n<\/blockquote>\n