“n the early hours of 2 August, Jeremy Hambly, a popular YouTuber who covers gaming, pop culture and media news, was assaulted outside a bar in Indianapolis. He was caught off-guard and suckerpunched, and was left with bruises, a slight cut and a torn shirt. Shaken, he recorded his injuries on his phone. But this was more than a bar fight – this attack was political, and arose out of a simmering feud within gaming culture.
“Magic: the Gathering (MTG) is a game produced by Wizards of the Coast (WOTC), encompassing trading cards, merchandise, online gaming and organised tournaments. A number of vlogging channels have sprung up to discuss MTG products and culture.
“Jeremy Hambly’s UnsleevedMedia channel has become prominent in part due to his criticism of WOTC’s incorporation of identity and sexual politics: WOTC has reduced the attractiveness of female character designs, uses ‘they’ as the second-person singular pronoun in official texts, and uses explicitly ‘inclusive’ language and tone-policing at MTG events. After Hambly made negative comments about a female cosplayer (someone who dresses up as a fictional character at public events), he was accused of ‘harassment’ and banned for life from participating in WOTC-sanctioned tournaments and online play. He became the first MTG player to be banned for life without the possibility of appeal without having cheated or committed a crime. It seems that Hambly’s severe punishment was due not to a violation of MTG guidelines, but to his unpopularity among some fans and his criticism of WOTC policies…”
Read the full article online on Spiked here:
“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
“Some grand claims have been made for the art of Amrita Sher-Gil (1913-1941). Christie’s described her as ‘one of the greatest avant-garde women artists of the early 20th century’, yet few art-history students in Europe and America know her name. The reissue of Amrita Sher-Gil: A Self-Portrait in Letters & Writings, which collects all of the artist’s writings and reproduces her 172 surviving paintings, allows us to judge the acclaim. In the foreword, Salman Rushdie explains how Sher-Gil became an inspiration for his character Aurora Zogoiby in The Moor’s Last Sigh.
“There is scarcely a day without a gallery press release announcing the rediscovery of a female artist who has not just been neglected but ‘excluded from the Western fine-art canon’. The claim that any artist can be excluded from the canon is nonsensical. The Western canon is a list of the most important good art that a person should know in order to understand the Western art tradition. The canon is not a set text, but a composite of opinions and has no central authority and changes over time. Therefore no art or artist can ever be excluded from the Western canon, whatever you may be told. (For an explanation, read my essay here.)
“Amrita Sher-Gil was born in 1913 in Budapest. Her family was middle class. Her father was Amrao Singh Sher-Gil, a Sikh writer and religious ascetic. He was a skilled photographer and his favourite subject was his family. Amrita’s mother was of French and Hungarian Jewish descent. The couple were mismatched in some respects and the conflict between an ascetic detached father and neurotic socialite mother would prove a source of instability in Amrita’s life. The family (including Amrita’s younger sister Indira) spent Amrita’s early years in Hungary before the family moved to Simla, India in 1924.
This two-volume book publishes all of Amrita’s writings, translated from the original French and Hungarian. She spoke English to her family and Indian colleagues, so much of the text is in her own words….”
Read the full review online at Spiked here: http://www.spiked-online.com/newsite/article/amrita-sher-gil-unseen-brilliance/21365#.Wu7uNC7wbIU
“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
“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
“On the eve of the opening of a new exhibition of art by Jean-Michel Basquiat in London, Banksy revealed two painted homages to his American predecessor. The contrast between the most famous exponents of two different generations of street art from opposite sides of the Atlantic could not be greater.
“Jean-Michel Basquiat (1960-1988) is widely considered the founder of the street art movement, which is the crossover of, on one side, graffiti art, mural painting and inscribed poetry and, on the other, the fine arts of museums and galleries. In theory, street art could be simply graffiti or posters from non-gallery settings relocated into museums and galleries, but in practice this is rarely the case. More often, creators who began by making graffiti start working on more portable supports (like the traditional artist’s canvas or board) when there is a commercial imperative. They also make prints or multiples with professional assistants.
“‘Basquiat: Boom for Real’ (Barbican Art Gallery, London; closes 28 January) collects a wide range of Basquiat’s art made over the whole of his short career. Visitors can judge for themselves Basquiat’s stellar status in the art world. (This year a painting by him sold at auction for $110million.) The art was made in a mixture of fine-art materials and ordinary materials from drugstores and discount stores. Paint, oil sticks, spraypaint, pencil and marker were used on canvas and board but also on more unusual supports such as foam rubber, doors, plates, a refrigerator and even a football helmet. Subjects include street life, modern life, racism, sports, music, popular culture, ancient history, the Western canon, anatomy and mortality. All manner of seemingly random fragments of history surface in Basquiat’s paintings. Simple icons, lists of words, graphic symbols, colourful abstract painting and meandering grids occupy a variety of surfaces…”
Read the full review online at Spiked, 2 October 2017, here: http://www.spiked-online.com/newsite/article/basquiat-versus-banksy/20383#.WdJ0X1uPLIU
“With the opening of a new building adjoining the Tate Modern Bankside site, and the appointment of a new director, Dr Maria Balshaw, things seem buoyant at the Tate. Yet below the surface the organisation is headed towards crisis.
“Although you wouldn’t know it from the fawning accolades of newspaper profilers, Balshaw’s appointment alarms art historians. Balshaw, the new director of Britain’s largest fine-art museum, with four venues and £1.3 billion in assets, is not an art historian but a student of literature who attained a doctorate in critical theory, specialising in American authors. Critical theory is an academic branch of postmodernism that, preferring to concentrate on art’s ideological and social role, sees no qualitative difference between high and low (or popular) art forms. This might be a problematic grounding for the director of Britain’s largest collection of high art. Hitherto in her roles as head of the Whitworth and Manchester art galleries, she has demonstrated no detailed understanding of fine art or any willingness to defy fashion, exhibiting and collecting art on an agenda underpinned by identity politics and feminism.
“Indeed, Balshaw is a proactive and politically driven individual who will not be taking a backseat position. She has previously made statements that women and minority artists should be given a more prominent position in the arts world. As explained previously on spiked, the relatively low number of female artists in the Tate collection is due to historical restrictions on women artists that no longer exist. However, for feminists, that statistical imbalance justifies the promotion of women artists regardless of the quality of their art.
“If the Tate was a stable or manageable organisation, then a figurehead leader would be a viable proposition. Unfortunately, the Tate has huge and ever-increasing problems…”
Read the full article on on Spiked (25 September 2017) online here: http://www.spiked-online.com/newsite/article/trouble-at-the-tate/20339#.Wcjg-LKGPIU
This is an extract of a long essay titled “New Order”, available in The Jackdaw, issue 135, available via: http://www.thejackdaw.co.uk
“One day after a bloody clash between white supremacists and a mixture of non-violent, anti-fascist marchers and violent Antifa activists in Charlottesville, Virginia, a mob of activists destroyed a Confederate war statue in Durham, North Carolina. Fearing more violent action, authorities are concealing or removing potentially controversial public monuments nationwide. Far from easing tensions, this is likely to worsen the situation.
“From South Africa to Ukraine, statues have become proxy targets for political violence. Statues are soft targets. Often unprotected, easy to deface or destroy and unable to retaliate, they make ideal symbolic targets for those unwilling to endanger themselves. In an age when groups can be quickly mobilised via social-media postings and attacks can be livestreamed around the world, such assaults on cultural property are liable to become more common. Police rarely intervene, prosecutions for these attacks are uncommon and punishment light.
“Now the Culture Wars in the US are being fought on the streets between left-wing and right-wing activists. Civil War statues and memorials are flashpoints for this conflict…”
Read the full article online on Spiked 21 August 2017 here: http://www.spiked-online.com/newsite/article/the-liquidation-of-history/20226#.WZrPc1V97IU
“On the morning of 2 July 1961, Ernest Hemingway took his favourite shotgun and shot himself in the head at his home in rural Idaho. He had finally done it. He had threatened suicide, described the suicides of others and even play-acted it with empty guns. He had been talked out of suicide, and physically restrained from doing it, twice before. Dogged by declining health, difficulty in writing and now a chronic writer’s block, Hemingway chose death. He was haunted by the knowledge that his father had shot himself. Two of Hemingway’s siblings would later commit suicide, with suicide being the suspected cause of death for another sibling. Suicide was a hereditary risk for the Hemingways.
“In Hemingway’s Brain, Andrew Farah, a clinical psychiatric practitioner, has analysed the causes of the mental decline that precipitated Hemingway’s suicide and has come up with a new diagnosis.
“Born in 1899, Hemingway lived a life that was physically precarious. Sometimes due to accident, sometimes by placing himself in dangerous situations, Hemingway courted danger and death. This was in his character and it underpinned a heroic persona that found its way into his writings. As a boxer, deep-sea angler, big-game hunter, trainee bullfighter, war correspondent and hard-drinker, Hemingway lived a life that transcended the macho and became epic.
“During the First World War in northern Italy, Hemingway was wounded by a mortar explosion and hit by machine-gun bullets. He suffered shrapnel and bullet wounds and experienced concussion…”
Read the full review online on Spiked website, 28 July 2017, here:
“Anyone who picked up a new copy of the New Republic from his or her local newsstand on the morning of 18 July 1955 could have opened it to read an article called ‘How to be happy: installment 1053’. What they couldn’t have guessed is that the author would, in all probability, choose to extinguish his life mere hours later. With a flourish sour, sardonic and elegant, the author would disappear. His name was Weldon Kees.
“Kees had the knack of being in the right place at the wrong time. As a writer-artist, Kees had been in all the best cultural hotspots of the period. He was in New York in 1943-48 during the early Abstract Expressionist boom, but left before the market took off. He had also been in artists’ haven Provincetown, but had sold relatively little work. In 1950, he arrived in San Francisco. Somehow he had managed to be in these places and failed to make critical breakthroughs. He (and his wife Ann) had quit places without getting the most out of them. He seemed to have turned missing opportunities into his greatest art form.
“Admired for his talents as a poet, storywriter, critic, musician, composer, painter, film-maker and photographer, Kees never broke through in any one field despite his talent…”
Read the full review online at Spiked, 26 May 2017, here: http://www.spiked-online.com/newsite/article/weldon-kees-the-poet-who-vanished/19874#.WShlYGkrLIU