Eminen evicerates the Chumphshit at the BET Awards…
Eminen evicerates the Chumphshit at the BET Awards…
Now it is “wrong” fora white artist to paint a black subject? To express in art anything about black history?
Methinks there are indeed too snowflakery about and way too much snowfuckery…
That New Jim Crow – Sometime he seem to work both sides of the street,
Artist Hannah Black has launched a petition calling on the Whitney to remove and destroy the painting, Dana Schutz’s ‘Open Casket,’ currently on show at the museum’s Biennial show.
Before it opened to the public, the 2017 Whitney Biennial was lauded by critics for deftly addressing the political and cultural turbulence of our times—not just the Trump era, but our country’s broader socio-political climate and racial tensions during the Obama years as well.
A group of protesters have arrived at a different conclusion: the Biennial has exploited the black experience by displaying a white artist’s painting of Emmett Till, the teenager who was brutally murdered by two white men in 1955.
British artist Hannah Black has launched a petition calling on the Whitney to remove and destroy the painting, Dana Schutz’s Open Casket, which depicts Till’s bludgeoned face as seen in a photograph of his open-casket funeral service.
A handful of people also protested the painting in person last Friday, the Biennial’s opening day, standing in front of it to block it from public view.
More than thirty people have signed the petition, which began circulating Facebook on Monday afternoon. “That even the disfigured corpse of a child was not sufficient to move the white gaze from its habitual cold calculation is evident daily and in a myriad of ways, not least the fact that this painting exists at all,” the petition reads.
A number of original signatories’ names were scrubbed on Monday because they were white; responding to criticism, Black commented on her Facebook post that it was “better to include only black signatories.” The artist declined to speak to The Daily Beast beyond what she wrote in her public statement, which argues that it is “not acceptable for a white person to transmute Black suffering into profit and fun.”
In a statement to The Daily Beast, Schutz said the painting was “never for sale and never will be.” Schutz, who has two other paintings on view at the Biennial, said she created the painting in August 2016, “after a long, violent summer of mass shootings, rallies filled with hate speech, and an ever-escalating number of camera phone videos of black men being shot execution style by police.”
Wow…A sign of things to come.
The billboard near Pearl, Miss., and put up by a group called For Freedoms, says “Make American Great Again” – Trump’s campaign slogan – and features as art images from “Bloody Sunday,” one of the most violent days of the Civil Rights movement.
The original photo dates to March 7, 1965, when police and protesters faces off over voting rights in heavily segregated Selma, Ala. Future U.S. Rep. John Lewis was among those beaten by police and 14 people were killed.
Hank Thomas, one of the artists behind the billboard, told WJTV that he knows Trump likes attention and sought to use the art to have an impact on the political landscape.
“I really want us to start to ask harder questions like well what do you mean when you say make America great again? That has not yet been asked,” Thomas said.
Mississippi Gov. Phil Bryant called the billboard reprehensible.
Pearl Mayor Brad Rogers asked Lamar Advertising to remove the billboard, even though it isn’t vulgar and is protected freedom of speech.
You have to see these to believe them – they are incredible!
The why of their creation, is a much darker story.
“The soundsuits hide gender, race, class and they force you to look at the work without judgment.”
Artist Nick Cave’s work is best described as an explosion of color, texture and noise. Born in Fulton, Missouri, in 1959, Cave is known for his soundsuits ― wearable artworks that can be displayed as still objects or incorporated into wild performances as costumery.
Drenched in electric hues and hallucinatory patterns ― and marked by their ability to produce sound when individuals like Cave don the elegant objects ― it’s easy to view the suits as whimsical ware. But, according to Cave, the suits are anything but “fun.”
“They come from a dark place,” he explains in Episode #239 of ART21. In fact, the fashion-infused sculptures originated as metaphorical suits of armor in response to the brutal treatment of Rodney King in 1992. Cave made his first suit shortly after video footage captured the unlawful beating of King at the hands of Los Angeles Police Department officers.
The suit was simple, consisting of a sheath of twigs that rustled as the wearer moved. Cave has since created around 500 subsequent suits, many more decadent than the original. Most, if not all, reflect on Cave’s identity as a black man, confronting his experiences with racial profiling and police brutality.
Cave says that his suits represent his desire to “lash out” in response to personal experiences, as well as sorrowful moments in American history. “And if I do, lashing out for me is creating this,” he explains in the video above, gesturing toward his work. “The soundsuits hide gender, race, class and they force you to look at the work without judgment.”
The “Here Hear” exhibition of Cave’s soundsuits was previously on view at Detroit’s Cranbrook Art Museum, the museum connected with the artist’s alma mater. In a previous interview with The Huffington Post, Cave described the city he once called home as vibrant and alive, but noticeably different from when he last attended school in 1989. He was, he explained to ART21, the only minority there in 1988.
The ART 21 episode above is titled “Thick Skin,” referencing Cave’s suits’ ability to serve as “an alien second skin […] allowing viewers to look without bias toward the wearer’s identity.” Referred to as “vehicles for empowerment,” the suits stand out amid the 21st century’s array of creative political work, breathing new meaning into the possibility of addressing prejudice through visual art.
This one starts with the case of Mac Phipps, jailed in a state, Louisiana, that incarcerates more of it’s citizens than any country in the world since Pol Pot’s Cambodia.
It’s a mission that Phipps, a visual artist who’s been painting since the 1980s, took up after her son, McKinley “Mac” Phipps, a former No Limit hip-hop artist, wassentenced to 30 years in prison for a 2000 nightclub shooting.
“My son was wrongfully convicted in 2001 and is now serving time for a crime he didn’t commit,” Sheila Phipps said.
The visual artist said that in the beginning she could barely face the pain of her son spending such a large portion of his life behind bars. To cope, she went to her art room, took a brush in hand, and in a series of meticulous strokes captured the element missing from her life — her son — on canvas.
“I was frustrated, and it helped me deal with the stress of everything,” Phipps told The Huffington Post.
When Phipps finished the painting of her son, she initially viewed it as a personal accomplishment. After all, it was intended to be therapeutic — a brief escape from the harsh reality of the situation. However, an emptiness remained. It prompted her to capture not only her son’s story but also those of other inmates in Louisiana who are in similar situations.
“I knew my son was not the only one who was a victim of the criminal justice system,” she said. “So I started to research other cases where individuals were convicted with questionable evidence or received excessive sentences.”
Phipps said her son ultimately became the inspiration behind her series of portraits of incarcerated men. Although she never intended her personal expression for public view, she gradually began showing her paintings as they emerged, gathering them in a series titled “Injustice Xhibition.”
If you are older than about 55 and lived in the South – you most likely remember the “Separate but Equal” signs hung at everything from Retail stores, to Public Parks assigning separate facilities to black and white. It was called Segregation – and it ruled the lives of people in many locations in the South.
An Art student,, working on a project called “Art in Public Places” hung signs like this around the University of Buffalo campus. Needless to say, they caused a bit of an uproar.
On Wednesday, Sept. 16, students of the University of Buffalo were shocked to find “White Only” and “Black Only” signs hung near campus bathrooms. Students were sickened and traumatized by the apparent act of racism; by 1 p.m., the police had received 11 phone calls regarding the signage.
It was later revealed, however, that the signs reminiscent of the Jim Crow era were put on display by graduate fine arts student Ashley Powell, who is black, as part of an art project.
Before Powell admitted to hanging the signs at a Black Student Union (BSU) meeting on Wednesday night, students and faculty were left wondering about the source of the racist designations. “We didn’t know it was an art project, it could’ve been an act of terrorism,” a student explained to The Spectrum, the independent campus newspaper.
When Powell revealed that she was behind the act, a project for her “Installation: Urban Spaces” class, which requires students to install art in a public space, many students stormed out of the BSU assembly, some in tears. “It brought up feelings of a past that our generation has never seen, which I think is why it was so shocking for us to see,” Micah Oliver, president of the BSU, told ABC.
“As an artist, I respect you as an artist,” said student Jefry Taveras in the BSU meeting. “But you should know racism isn’t art, it’s a reality and traumatizing.”
In a statement to The Spectrum, Powell explained the reasoning behind her installation, which addresses issues of non-white suffering and white privilege. “I apologize for the extreme trauma, fear, and actual hurt and pain these signs brought about,” she wrote. “I apologize if you were hurt, but I do not apologize for what I did.”
She went on to expand upon the motivations behind the project, which was intended to spark outrage and discomfort in viewers.
“My art practice is not an act of self-policing meant to hide my rage. Instead, it uses pain, narrative, and trauma as a medium of expression and as grounds for arguing a need for change in the first place. I understand that I forced people to feel pain that they otherwise would not have had to deal with in this magnitude. But I ask, should non-white people not express or confront their trauma? Should we be content with not having to confront that pain? We know it exists, and it often causes many of us immediate discomfort. Should we not be in a state of crushing discomfort?
These signs made you feel discomfort. They are tangible objects that forced you to revisit your past, to confront your present, and to recognize here and now the underlying social structures that are directly responsible for your pain and suffering. This project makes forceful what has been easy for you to ignore.”
University of Buffalo released the following statement regarding the incident: “After an initial investigation by University Police, it has been determined that the signs posted in Clemens Hall were part of a student art project. The University is continuing to review this matter through appropriate university policies and procedures.”
Powell is far from the first artist to toe the fine line between critiquing racism and embodying it. Brett Bailey’s “Exhibit B,” a performance recreating the “human zoos” of the 19th century, Ti-Rock Moore’s sculpture of Michael Brown’s dead body, and Kenneth Goldsmith’s poetic reading of Michael Brown’s autopsy have all caused dire outrage. However, it should be mentioned that the three artists listed above are white.
I don’t believe it matters whether the three artists mentioned above are white – or that Ashley Powell is black. Her installation indeed is a reality check on an era well within the lifespan of many black and white folks in America. It may be psychologically traumatizing to some – as are the works of renowned street artist Banksy. But it was a reality for the majority of the 20th century – a reality which hasn’t quite faded away to the dustbins of history…
And there seems to be no shortage of folks in some places who would willingly return to it.
OooooooKay….Right wing hero murderer George Zimmerman is at it again, profiting from bigots.