Perry v. Romney: what the papers say

The verdict of US commentators on the first ever Tea Party-associated Republican presidential debate

The fifth debate in the Republican primaries was significantly different to the four that preceded it, as it was the first-ever Tea Party-affiliated debate in the history of US politics. It was sponsored by CNN and Tea Party Express, the California-based group founded in 2009 to support the Tea Party Movement. The debate was moderated by CNN anchor, Wolf Blitzer.

Texas governor and Tea Party favourite, Rick Perry -- known for his outspoken and conservative views -- came under attack from his fellow contenders over the issues of social security, vaccinations and America's foreign and immigration policies. Perry was also booed by the audience as he defended his policy of allowing in-state tuition for some illegal immigrants in Texas.

Hours before the debate took place, nominee favourites Perry and Mitt Romney both received campaign endorsements. Perry was backed by Louisiana Governor Bobby Jindal, while Romney won the support of former rival candidate Tim Pawlenty. According to a poll conducted by CNN and ORC international, some 30 per cent of Americans said they would support Perry to be the Republican nominee, compared with 18 per cent for Romney, the former Massachusetts governor.

Most American journalists and analysts have focused on the arguments between Perry and Romney. Many concluded that Perry came out on top, although others suggested that Perry actually suffered as a result of criticism from his rivals. Some view the debate as a success for Michele Bachmann, who has fallen behind in the ratings since Perry entered the race.

Here is a round-up of what the US media made of the candidates' performance:

CNN

Peter Hamby, CNN Political Reporter:

The debate at the Florida State Fairgrounds in Tampa gave the other candidates on the stage a chance to change what many are portraying as a two-person race between Perry and Romney.

Monday's debate was crucial to Bachmann, who has dropped in national polling since Perry launched his campaign on August 13, the very same day that she won a crucial straw poll in Ames, Iowa.

David Gergen, CNN senior political analyst:

There's no question that Romney and Perry will remain the frontrunners. Romney has a better command of the facts. He's a more practiced debater. He gave one of the best answers of his entire campaign when he was asked how he would balance the budget. But Perry has the command presence, and even though people took shots at him... he deflected reasonably well, he came in as a better debater, he was more even this time.

Erick Erickson, CNN contributor and RedState.com blogger:

I think this may be the first debate where Mitt Romney didn't come out the clear winner. Perry needed to do well. I think he did well. I don't think the Social Security exchange helps Mitt Romney at all at a Republican primary... I think the majority of Republican voters agree with Perry.

Politico

David Catanese:

The real message being delivered was a shot across the bow: Any contender who wants a realistic shot at winning back the White House will need the tea party's fervor to make it happen... Despite solid answers and pre-packaged punches, Mitt Romney struggled to gain traction with the crowd, as his top adviser all but acknowledged afterwards in the spin room.

New York Times

Jeff Zeleny and Ashley Parker:

The rapid rise of Mr Perry, who joined the race only a month ago, made him a central target for his Republican rivals. He sought to deflect the critiques with humor and sarcasm, but he tried to clarify his position on Social Security, whose constitutionality he has questioned... The debate went a long way in clarifying the contours of the Republican contest, both in terms of the strength of the candidates -- for the second time in a row, Mr Romney and Mr Perry were the main players -- but also on the issues driving the race. It is rare in a presidential primary to have such a vivid difference of opinion on a critical issue, as is the case with Mr Romney and Mr Perry on Social Security. The Republican presidential debate often took on the feel of a rollicking political game show... The debate was continually interrupted by applause, but it remained an open question whether the cheers or the jeers provided an accurate reflection of how Republican voters elsewhere were judging the evening.

LA Times

Paul West:

The governor, [Rick Perry] who leads by double-digit margins in early polls, was on the defensive for much of the evening. But he shrugged off most of the attacks with folksy retorts and a bemused look, and he stuck to his guns on the issue that has trailed him since his first national debate appearance last week: Social Security.

The two-hour forum -- the most contentious thus far in the 2012 campaign -- marked a revival of sorts for Michele Bachmann, whose candidacy has suffered as Perry's has taken off over the past month. The two are competing for many of the same conservative votes, but last night the Minnesota congresswoman appeared to have won the hearts of many in the crowd of tea party activists. She drew cheers for a rally-style attack on "Obamacare" -- the president's federal healthcare overhaul -- and for her attack on Perry's controversial decision to order vaccinations in Texas against the HPV virus, which can cause cervical cancer.

The debate's opening felt like a mix between a reality show and a sporting event. Moderator Wolf Blitzer delivered several minutes of introductory remarks above a throbbing bass line, followed by another departure: the singing of the national anthem. ...The event was also something of a formal coming-out party for the tea party movement in the 2012 campaign, a tone set before the telecast began.

Huffington Post

Jon Ward:

The frontrunner status is starting to smart. If Rick Perry felt like a piñata during his first debate last week, the second debate on Monday night might have left the Texas governor and Republican presidential candidate feeling like the bashed-in fax machine in the movie "Office Space". ... Altogether, the three criticisms of Perry chipped away at his image of a rock-ribbed conservative.

As for Bachmann, her fiery attack on Perry was a key moment for the Tea Party favorite. She has been hurt by Perry's entrance into the race - he has overshadowed her with an emphasis on his executive experience and has cut into her support among conservatives. But by tearing the Texan down, Bachmann injected herself back into the race. She still faces an uphill battle against Perry, but if she is to have any chance of staying in the race, she must deconstruct him. All of this helps Romney, who also has seen his standing in the polls diminished by Perry. If Bachmann and Perry are locked in a battle for the right wing of the GOP, that gives Romney a clearer path to the nomination.

The next Republican debate will take place on Thursday 22 September, 2011 in Orlando, Florida. It will be sponsored by Fox News, Google and the Florida Republican Party.

Calvert 22/Courtesy of the artist, Danila Tkachenko
Show Hide image

Ruin porn: the art world’s awkward obsession with abandoned Soviet architecture

Deserted fairgrounds, disused factories and forgotten military bases may look cool, but are we fetishising the remnants of such a cruel history?

Armenia, where one side of my family is from, was one of the first members of the USSR, annexed by Russia in 1922. A few years ago, when I visited this little country that perches precariously in the south of the Caucasus, I was struck most by its Soviet architecture.

Although its landscape is a hotchpotch of medieval Orthodox churches, a smattering of Persian-era domes, and brutalist concrete, it was the latter that particularly stuck out. From unfelled statues of Stalin to giant tower blocks spelling out the letters “CCCP” from a bird’s-eye view (well, half spelt-out – construction stopped partway through, with the fall of the Soviet Union), I’ve never forgotten it.

Perhaps it was so compelling because such stark physical symbols make recent history all the more tangible. A history still profoundly affecting the country of my ancestors (and all post-Soviet and communist states). But also, it just looked really cool.


Mixed air corps, Mongolia. Photo: Calvert 22/Courtesy of the artist, Eric Losito

It’s a bit passé now to mock the hipster obsession with reclaimed industrial detritus, exposed pipes and bare concrete. An aesthetic – that of a post-industrial wasteland, but a chic one – which has gripped western cities for years, and crept worldwide.

But it could be this tendency to find disused stuff visually intriguing, and a morbid fascination with cruel regimes, which has led to the art world’s obsession with abandoned Soviet architecture. A whole wave of artists and photographers have been poking around the eastern bloc’s architectural graveyard in recent years.

Late last year, we saw the hugely popular disused Soviet bus stop series by photographer Christopher Herwig, echoing photographer Sergey Novikov’s equally absorbing collection of abandoned Soviet cinemas from 2013.

Following Russian filmmaker and photographer Maria Morina’s “Atomic Cities” project four years ago, London-based artist Nadav Kander explored the “aesthetics of destruction” in his exhibition, Dust, in 2014, snapping “radioactive ruins” of secret cities on the border between Kazakhstan and Russia. The same year, Moscow photographers Sasha Mademuaselle and Sergey Kostromin travelled to the disputed region of Abkhazia, capturing fragments of its deserted infrastructure.


Fighter aviation regiment, Mongolia. Photo: Eric Losito
 

And photojournalist Anton Petrus’ now iconic pictures of Chernobyl’s abandoned amusement park have long been an internet favourite, as have numerous haunting images of Pripyet – the city famous for lying deserted following the nuclear disaster.

Jamie Rann, a lecturer in Russian at Oxford University, has written that the quality and technical accomplishment of most of this photography make the style more “ruin erotica” than “ruin porn” (the tag being used by some critics), but argues: “The enormous online popularity of this genre . . . combined with their voyeuristic, almost exploitative feel, certainly has something porny about it.”

The latest exploration of Soviet society’s skeletons can be found at the Power & Architecture season at London’s Calvert 22 Foundation. In an exhibition called Dead Space and Ruins, we see abandoned military bases and formerly mighty monuments, forgotten space ports freezing in the tundra, the ghost of an entire unused, unfinished city in Armenia lying derelict.



The unfinished "ghost city" built in Armenia to house earthquake survivors (water added by artist). Photo: Calvert 22/Courtesy of the artist, Vahram Aghasyan

The works are beautiful, but do they feed in to this zeitgeisty lust for Soviet ruins?

One of its curators, Will Strong, laments this trend. “I was keen that this didn’t become like a kind of ‘ruin lust’, ‘ruin porn’ thing; this slightly buzzwordy term that there is at the moment, this kind of fetishisation of dead space,” he tells me.

“This history is incredibly loaded, and it did not end in 1991. To sort of fetishise it in the very bourgeois western way of, ‘oh yeah, look at all this wonderful Soviet architecture, isn’t it fantastic?’ Obviously a lot of people who lived in that time hated it . . . a lot of people were very miserable under these regimes, so it’s important not to forget that.”


Gym at the Independent Radar Centre of Early Detection, Latvia. Photo: Eric Losito

He adds: “It’s more a point of reflection on how buildings were designed, what their legacy is, what their narrative is, and who the people are who live with that story. This show looks at the aftermaths of when utopia hasn’t been delivered.”

This view is echoed by the Moscow artist, Danila Tkachenko, whose work is featured in the exhibition. “It is rather a metaphor for the future, not the past,” he says. “It represents an image of a possible future. When there is a visualisation of this issue [utopia], it evokes a response in people; they see this utopia in their lives . . . There is disappointment in all utopias.”


The world's largest diesel submarine, in Russia's Samara region. Photo: Calvert 22/Courtesy of the artist, Danila Tkachenko

His Restricted Areas series explores great behemoths of European communism left to lie forgotten in the tundra of remote regions in and around Russia and Kazakhstan: the world’s largest diesel submarine, like a beached whale in the snow; a giant satellite, thatched with antennae, built to communicate with Soviet bases on other planets some day; the deserted flying saucer-like communist headquarters in a region of Bulgaria. The structures hover in blank, white space, making the photos appear black-and-white.


Deserted observatory, Kazakhstan's Almaty region. Photo: Danila Tkachenko
 

Anton Ginzburg is an artist who grew up in St Petersburg in the Eighties as the Soviet Union was disintegrating. He believes studies like his film, Turo, of disused modernist constructions in the post-Soviet bloc, appeal to people’s connection to history. After all, picking through the architectural carcasses of former societies isn’t exactly a new thing:

“Russian culture is still haunted by its Communist past, and constructivist architecture is a decaying shell for its ghosts. It is an active reminder of the recent history,” he reflects. “Perhaps [its appeal] is a mixture of memento mori, with its thrill of beauty and destruction, along with a Romantic tradition of contemplation of Greek and Roman ruins.”

(Anton Ginzburg Turo teaser from Visionaireworld on Vimeo.)

The Power & Architecture season is on at the Calvert 22 Foundation, London, from 10 June-9 October 2016. Entry is free.

Anoosh Chakelian is deputy web editor at the New Statesman.