“Frida Kahlo: Making Her Self Up, the new exhibition at the V&A London, examines Kahlo’s private world, displaying paintings, drawings, photographs and private possessions to form a powerful presentation of Kahlo the artist and the woman.
“Such an approach might seem intrusive. Yet Kahlo (1907-1954), one of the most famous painters of the 20th century, was an artist uniquely concerned with her self, displaying it in its various guises. Her symbolic portraits and self-portraits – combining Surrealism, Mexican painting and naive amateur art – and her personal life – her precarious health, commitment to Communism and tempestuous marriage to famed muralist Diego Rivera – all flowed into what is a strikingly autobiographical artistic enterprise, rich in allusion and metaphor. Indeed, fascination with her autobiography, combined with acclaim for her art, propelled Kahlo to stardom long after her death, spawning films, documentaries and numerous books…”
Read the full review online here: http://www.spiked-online.com/newsite/article/frida-kahlo-art-trumps-identity/21529#.WzSbFe4vzIU
“YouTube comedian Mark Meechan has been convicted of grossly offensive behaviour under the Communications Act. Meechan’s crime was filming his girlfriend’s dog raising its paw as he made pro-Nazi comments. Under the YouTube username of ‘Count Dankula’, he posted this joke video on the internet, and it was then viewed over three million times. This week, Airdrie Sheriff Court found Meechan guilty, and he now faces potential imprisonment.
“Talking to the press after the judgement, Meechan said ‘today, context and intent were completely disregarded’. He explained during the trial that he was not a Nazi and that he had posted the video to annoy his girlfriend. Sheriff Derek O’Carroll declared the video ‘anti-Semitic and racist’ in nature. He added that ‘the accused knew that the material was offensive and knew why it was offensive’. The original investigation was launched following zero complaints from the public. Offensiveness apparently depends on the sensitivity of police officers and judges.
“Offensive behaviour is one of the crimes of immorality, such as offence against public morality, action against the state, counter-revolutionary activity and other catch-all terms, that have always been used to suppress dissent (reasonable and unreasonable)…”
Read the full article online on Spiked here: http://www.spiked-online.com/newsite/article/alexander-adams-hate-speech/21240#.WrN2wmrFLIU
This year a sculpture by Sam Durant entitled Scaffold was erected in a sculpture park managed by Walker Art Center, Minneapolis. The wooden sculpture juxtaposed elements of playground-activity structures and gallows. One minor aspect of Scaffold referred to the hanging of Dakota Native Americans in 1862 as part of struggles between the Dakota Nation and the American government. That reference had been missed until it was pointed out, at which time a campaign to remove the sculpture was begun by the Dakota. “This is a murder machine that killed our people because we were hungry,” said a member of the Dakota Nation, equating Scaffold with an actual gallows that hanged members of the Dakota. In May the museum destroyed Scaffold and the artist renounced his work.
This year there was a protest by some black artists against the display at the Whitney Biennial of a painting of murdered black activist Emmett Till. Black activists lobbied to have the painting by Dana Schutz, a white artist, removed as offensive and hurtful. “The subject matter is not Schutz’s,” said one protestor, claiming ownership and authority over the representation of a historical event.
In these two cases, activists claimed ownership over aspects of history in order to suppress art works. In one case it resulted in the destruction of art. Pressure groups have noticed the weakness of curators, administrators and politicians and their unwillingness to protect art from censorship. Sympathetic towards notions of social justice, administrators sometimes submit to emotional blackmail by groups which demand censorship…”
To read the full article visit The Jackdaw: http://www.thejackdaw.co.uk/?p=1750
“The canon of great art has never been the target of greater ire than it is today, but many leftist critics and their traditionalist opponents misunderstand the canon. The truth is unsettling for both groups. This essay seeks to clarify the nature of the canon at a time when it is an especially contentious subject.
Great Deeds Against the Dead
Last year art-history A-level was scrapped due to low take-up, then, after a campaign to reverse the decision, it was reinstated. This allowed New Criticism a foothold in school art-history teaching. When the new curriculum was developed, there was a downgrading of the master artists of Europe. Sarah Phillips, designer of new art-history syllabus, said “It is a global specification. Students won’t just study the work of dead white men. They will have the opportunity to study Islamic architecture and work by men and women of all colours and creeds.” Perhaps students will be tested on artist skin colour in exams.
“Art history is the study of power, politics, identity and humanity; it makes perfect sense to keep the exam,” said Jeremy Deller. One doesn’t envy students wanting to learn about painting only to be dragooned into political-education courses and harangued on the purported crimes of their forefathers, who were more likely to have been agricultural labourers toiling in fields than redcoats bayonetting babies in India. Perhaps A-level art history would have better remained decently defunct…”
To read the full article go to the The Jackdaw here: http://www.thejackdaw.co.uk/?p=1756
“In November, there was a change in the senior management team of Marvel Comics, marking the latest stage in a bitter fight between creators and fans of one of the world’s most famous brands. To those who had been observing the conflict, this new development was easy to see coming.
Marvel’s survival gamble
In their postwar heyday, comics were a limited range of low-cost items widely stocked in general stores and sold to casual readers; nowadays, comics are a broad range of slightly more expensive items stocked in few specialist stores (and online) and sold to dedicated followers, often for the collector market. Despite shrinkage, the comics market in North America is worth annually about $500million in individual comic-book sales, excluding online and book sales. Although sales in 2011 were healthy, executives in comic-book production were nervous about their readership. The typical superhero-comic purchaser was a 40-year-old white male – a demographically shrinking and ageing profile not being replenished by new young buyers. Economic recession (which started in 2008) hastened the closure of many bricks-and-mortar outlets. Digital versions were cheap to distribute but did not satisfy the strong collecting-reselling-trading culture of comic-book fandom.
Anticipating a consumer crisis – and undermined by poor business decisions (including sale of film rights to leading characters, such as the X-Men) – Marvel looked for solutions…”
Read the full article online on Spiked, 29 December 2017 here: http://www.spiked-online.com/newsite/article/comic-fans-take-on-identity-politics/20675#.WkZ9kVVl_IU