What happens when ideas (the currency of cultural grow) get controlled to such an extent that one is uable to express thought or even build a body of critical work. Below is a snippet The Guardian which deals with the art world, but could easily be talking about any mainstream media, corporate image, etc:
An interesting result of the growing power of the market is that artists and their dealers are looking for ways, through copyright law, to con trol what is written or broadcast about the work, so as to prevent critics who might feel less than prostrate admiration for it from saying anything about it at all. On TV, if you can’t show, you can’t tell. I have seen quite a lot of this in recent years; it is here to stay, and getting worse. Sometimes the results look merely silly, as when the American conceptual artist Mel Bochner, whose work (consisting of vaguely related words printed in capitals on canvas in various tasteful colours) we filmed in the last Whitney Biennial in New York, waited until a few days before broadcast to announce, through his agent, that he “did not wish to participate” in our film. Never mind.
I think the drift of such examples (and there are plenty of others) is clear enough. The art world is now so swollen with currency and the vanity of inflated reputation that it is taking on some of the less creditable aspects of showbiz. Hollywood doesn’t want critics, it wants PR folk and profile-writers. Showbiz controls journalism by controlling access. The art world hopes to do the same, though on a more piddly level. No other domain of culture would try this one on. No publisher, fearing that an unfavourable review, would attempt to stop a book critic quoting from some novel. No producer would make a guarantee of innocuousness the price of a critic’s ticket to the theatre. It just wouldn’t happen. But in art, it can. And since it can, as Bill Clinton remarked in another context, it does.