Showing posts with label LOS ANGELES TIMES. Show all posts
Showing posts with label LOS ANGELES TIMES. Show all posts

Tuesday, April 01, 2025

NEW INC. MAGAZINE COLUMN FROM HOWARD TULLMAN

 

The major newspapers have failed in their mission. We need a new format that does everything they once did–curate, inform, educate–without the baggage.

 

EXPERT OPINION BY HOWARD TULLMAN, GENERAL MANAGING PARTNER, G2T3V AND CHICAGO HIGH TECH INVESTORS @HOWARDTULLMAN1

APR 1, 2025

The major newspapers simply aren’t getting the job done any longer. Apart from the fact that the printed paper is outdated before the press run is even finished, they aren’t telling us what we actually need to know in an effective manner. Smaller local papers continue to disappear, and the three leading national papers cower, cave and collaborate with the demands of the Orange Monster and their own corporate masters – joined these past few weeks by several of the largest law firms and major universities.

We are largely left to our own devices to find alternative sources of substantive news, serious thought, and opposition to the onrushing autocracy.

Newspapers today – even with unlimited online space – are opting for fluff, filler, and a lot of nice-to-know nonsense instead of substantive coverage of pressing national affairs. Many local papers are now dropping editorial pages entirely. And, as they shrink in size and shirk their obligations, they look like unfortunate jugglers trying to catch the wrong end of a bunch of plummeting knives – painful, pathetic, and painted red with the blood, sweat and tears of departed staffers.

The most immediate result of layoffs, buyouts, and bizarre dictates by billionaire owners like Patrick Soon-Shiong of the Los Angeles Times and Jeff Bezos of the Washington Post is the continued flight of major talent. Readership is disappearing, too.  Many of the best writers, editors, and reporters have abandoned the major rags to set out on their own to tell their stories and honor their callings through social media, YouTube videos, podcasts and new digital forums. But it’s an enormously difficult task to find an audience and make a living while you’re at it.

The Best Journalists Are Leaving Newspapers Behind
 

Online digital channels like Substack, which provide a forum for opinions, reports and longer articles, are the prime beneficiaries of the writers’ exodus, for example, Jennifer Rubin of the Post. I also like Joyce Vance, Heather Cox Richardson, Shelly Palmer, Charlie Sykes, and Frank Bruni. Other new services like Bluesky and Threads — which unfortunately followed the constricted Twitter model best suited to short slander, right-wing hate, and trolling — haven’t really offered much of a viable alternative, despite building substantial audiences.

You can’t really say much of value if your message needs to be truncated into a dozen little squibs. And literally millions of new users signed up for these services without a clue as to what they were likely to find, or which other users and contributors might be on any given channel.

But these new forums, channels and writers face a much bigger obstacle that is likely to financially doom many new authors seeking a viable audience. What you say or how well you’ve said it doesn’t matter if (a) no one can find your work and (b) if, as a result, no one is reading or listening to it. Even if you think you know what you’re looking for, without a specific name in mind, there’s virtually no way to find anything of value among the thousands of returns that a typical Google search might generate. There are no editors, curators or guideposts to manage the constant stream of new material.

How Substack Hurts Its Own Users

Substack makes life even more challenging for its authors to build a sustainable audience by the utterly stupid step of automatically unsubscribing anyone suspected of forwarding a post to a mailing list. In other words, while their own offers litter every column with pitches to subscribe at various fee levels (including free), Substack punishes anyone for aggressively sharing a particular piece with a larger audience of potential subscribers by kicking them off the author’s page. This even includes articles which have been served for free by writers trying to get their message shared as widely as possible.

As if finding new materials and writers wasn’t tough enough, the Substack idiots penalize people for providing free marketing for their authors.

With Trump and his flunkies now threatening to effectively limit access to Social Security and privatize the United States Postal Service, online services may soon be the only effective channels that remain for most of our population. As they envision their brave new, tech-first world, the MAGAts never bother to mention the millions of older, rural and poor people, including their own supporters, who still lack access to online internet services or cellphones.

There are still important and critical nuggets of information regularly buried among the gross amount of garbage we get online. Today we all live in various degrees of fear of missing something critical from a friend, family, bank, litigant, government agency or other correspondent. And we regularly do miss messages directed to us at infrequently visited sites.

How To Be a Better Reader

Given this cluttered context, the scarcity of our time, and the fractionalizing of our attention, you need to selectively invest the energy in finding valuable new information sources, intelligent and informed writers, and news feeds that anticipate important events and prepare you to respond.  That’s in contrast to those that merely regurgitate the same tired factoids we see in dozens of different posts across the web.

You can start by finding out where some of your favorite columnists moved and follow them. But this process is too often frustrating. Medium does a decent job of collecting your interests (very generically) and then provides a long list of suggested writers who might be relevant. But it feels like a complete crapshoot, and you’re required to subscribe and pay a fee to proceed. Plus, much like those of us who presently subscribe to too many streaming services for no good reason, it quickly becomes a fairly expensive proposition to spend $50 a pop to support a dozen of the newspaper columnists you used to follow in one or two places.

Interestingly enough, this process of aggregation, validation and assembly of select writers, educators, scientists and other professionals used to be one of the primary functions of major newspapers. Your favorite paper was basically a one-stop shop, a convenient, well-organized and edited, and relatively painless delivery system especially when compared with the absolute drudgery that discovery on the web today represents. Those were the good old days.

Bottom line: we need a trusted online aggregator, or maybe a linking service more tailored than Apple News, where users can find and designate the content, authors, commentary and topics that interest them and have those delivered in a single, morning submission. Sorta like the newspaper you used to find on your doorstep.  

Sunday, April 28, 2013

TULLMAN COLLECTION ARTIST WILLIAM POWHIDA'S NEW SHOW AT CHARLIE JAMES REVIEWED IN LOS ANGELES TIMES

Los Angeles Times - Masthead 
Review: William Powhida wryly eyes the business of art
By Holly Myers Thursday, April 25 2013

     William Powhida's "Bill by Bill" as installed at Charlie James Gallery. (The artist and Charlie James Gallery)

So rare is good satire in contemporary art that its appearance - as in the newest exhibition of William Powhida, a New York-based artist who is fast evolving into one of its sharpest practitioners - makes one inclined to stand up and applaud.

The show, called "Bill by Bill," at Charlie James Gallery, combines the motif that has become Powhida's trademark - the trompe l'oeil painting of a sheet of paper covered in handwritten notes - with a series of artworks conceived on the basis of unspoken but eminently recognizable formulas.

There's "Informal Materialism" (a chunk of scrap wood and a sheet of paint-stained canvas); "Asset Class Painting" (a trio of blurry, colorful abstractions); "A Taxonomy of Forms on a Shelf" (a cube, a sphere and other glazed ceramic objects lined up in a row); "A Hypothetical Word or Phrase in Neon" (simplified, perhaps for ease of fabrication, into an underscore or strike-through mark); and, what may be my favorite, "A Taxidermied Animal in a Box," which is just what it implies, complete with foam peanuts.

The works themselves are not slapdash cracks but dutifully, even earnestly constructed objects, largely indistinguishable from the classes of works that they mock. At a glance, it all reads as your typical group show.

The real pleasure lies in the trompe l'oeil notes that Powhida pairs with each work, which detail the concept, process and cost involved in language that playfully derides the absurdity of each of these tropes while occasionally exposing the darker economic conditions underlying them.

Of "DIY Informalism," a clumsy mélange of bent-up stretcher bars and torn, paint-dripped canvas, Powhida writes: "Idea: To play around with some studio junk and stuff from the hardware store to make a few awkward objects without thinking intuitively with feeling!" (In a gratifying sidebar, Powhida alludes to the Hammer Museum's recent biennial, which was loaded with just this sort of work.)

Of "Post minimalism," a row of tall, slickly finished sculptural columns based on economic statistics, he notes: "Idea: Have the fabricator make some bar graphs into 'purely' formal objects. Then apply some Kantian aesthetic logic and separate strip the content from the forms. Income inequality is too political anddepressing."

What saves the work from grating sarcasm or smart aleck cleverness - toward which the artist has erred in the past - is a curious undertone of sincerity. Powhida is not mean-spirited or bitter but seems genuinely driven to understand his subject: the internal mechanisms of this peculiar social and economic ecosystem. How does the art world work and how should we feel about that? How much of ourselves should we reconcile to it?

He clearly takes these questions seriously. If he didn't, his excoriation wouldn't be nearly so funny.

 

Charlie James Gallery, 969 Chung King Road, (213) 687-0844, through June 8. Closed Sunday through Tuesday. www.cjamesgallery.com


 

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