Spot the similarities:
1/ From BBC News (East):
Banksy anti-immigration birds mural in Clacton-on-Sea destroyed
A new Banksy mural showing a group of pigeons holding anti-immigration banners has been destroyed following a complaint the work was “racist”.
The mural in Clacton-on-Sea – where a by-election is due to take place following the local MP’s defection to UKIP – appeared this week.
It showed four pigeons holding signs including “Go Back to Africa”, while a more exotic-looking bird looked on.
The local council, which removed it, said it did not know it was by Banksy.
Tendring District Council said it received a complaint that the mural was “offensive” and “racist”.
The artist, who chooses to remain anonymous, posted pictures of the work on his website earlier.
But by the time it had been announced, the mural had already been removed due to the complaint received on Tuesday.
2/ From politics.co.uk
Thin-skinned anti-racist protestors shut down an anti-racist exhibit
By Ian Dunt
The closing down of the Barbican’s Exhibit B event marks a significant moment in the rise of censorship in Britain. We have now become so sensitive, so uninterested in the purpose of a work of art, that we are closing down exhibits intended to support our own politics. We are censoring ourselves.
What an extraordinary point to have reached. Self-professed anti-racist campaigners shutting down an anti-racist exhibit because it features images of racism. Two hundred of them blocked the entrance and the road leading to the building. Organisers cancelled last night’s performance and then confirmed the remaining performances would be cancelled as well.
One wonders how else we are supposed to dramatise racism without featuring images of it? Should 12 Years a Slave have been banned too? It was hardly an easy watch.
The black performers in Exhibit B stand perfectly still, in chains, in a reference to the ‘human zoos’ of the Nineteenth Century. There are also exhibits featuring modern-day asylum seekers, with accompanying text describing them as “found objects”
This is how the actors themselves described it:
“Each audience member walks in alone into the exhibit, and each performer is exhibited in their own tableau vivant. Each performer is instructed by Brett to look into the eyes of each audience member. On arrival, at the first tableau, most people don’t even recognise that human beings are standing there. For a moment, particularly for the first few, we are objects.
“Then, our eyes meet.
“In that moment when our eyes meet, we cease to be objectified and become human. Some people literally jump back. Some break into tears; others immediately look away. Others still gaze deeper as their eyes well up.
“As they move through the exhibit, we watch them and witness anger, grief, pity, sadness, compassion. Above all, we witness a dawning of awareness. This is why we keep doing this, and would keep on doing it, if we could.”
I haven’t seen the exhibit. I can’t, because the protestors have managed to shut it down. But even without having seen it, it is quite clear that it was an anti-racist event, conceived by someone challenging racism and performed by those who shared his vision. It was trying to draw links between the injustices of the past, which we understand to be so, and those of the present, which are still subject to debate. The Guardian, that bastion of racism, called it “unbearable and essential”.
It is perfectly obvious the Barbican would never put on a racist event. It would be almost impossible to smuggle a racist piece of theatre, TV or visual art into modern Britain. So the ultra-sensitivity which has overcome our political debate feeds not on racism, but on the use of shock in art. The same applies in journalism. Demands for ‘trigger warnings’ are fired off angrily every time something even remotely emotive is published online.
For whole sections of the left and right, offence is something to be wallowed in, to be savoured. It is as if they are dedicated to seeking out and exploiting opportunities for it.
And yet, there is precious little support for actually tackling the brutality of Britain’s immigration and asylum system. Earlier this month Rubel Ahmed died in a British immigration detention centre. Authorities say he took his own life. Fellow residents say he was crying out in pain and no-one came to help. Either way, he was a victim of an immigration system which locks up the most vulnerable people in our society without them having committed a crime. And yet when protests are organised against it, the numbers are far fewer than the 22,000 who signed a petition attacking the Barbican for Exhibit B.
The modern censorship movement dresses itself up in compassionate clothing, but it is fundamentally selfish. It does not care about the world. It cares only about its own feelings.
The protestors who shut down Exhibit B should be ashamed of themselves. They act against their own principles, while doing nothing to help those who might actually need them.
* depressing, self-righteous rubbish in the Morning Star
* A more intelligent view from Catherine Bennett in the Observer
My old friend and comrade John Harris invites us all to visit his exhibition of photos from the miners’ strike.
John took the famous photo featured in the flyer below, and the cop on the horse took a swipe at him a moment later:
Between the 1930s and 1950s the revolutionary socialist (ie Trotskyist and, later, Shachtmanite) press in the USA made use of the wit and skill of talented cartoonists such as ‘Carlo’ (Jesse Cohen). In an Era of Wars and Revolutions, a new collection of their work, gives a snapshot history of the times: the rise of the mass industrial union movement in the USA, the great strike wave of 1945-6, the fight against ‘Jim Crow’ racism, World War Two, the imposition of Stalinism on Eastern Europe, and more.
Sean Matgamna (editor of In an Era of Wars and Revolutions) writes:
That “one picture can be worth a thousand words” is true, but only up to a point. A photograph or a painting cannot properly nail down, explain or explore ideas. A complicated piece of writing has no visual equivalent.
Yet a well-done cartoon is a powerful political weapon. A few bold strokes by an artist can convey an idea more vividly and fix it more firmly in the viewer’s mind than would an editorial or an article.
A cartoon is drawn to convey an idea, a point of view, an interpretation of what it depicts, and its meaning. Cartoons by their nature simplify, caricature, exaggerate, lampoon, and play with archetypal images.
A cartoon is highly subjective, yet it draws on commonly recognised symbols. The image, idea, interpretation fuse in the drawing. Drawn to convey an idea of people, things, institutions, classes, states, and of their inter-relationships, a cartoon distills the artist’s conception of what is essential in those people, events, entities, institutions, relationships.
The cartoonist is licensed to distort everyday reality so as to bring out a view, a “seeing”, analysis, critique, historical perspective of it. Its ciphers, emblems, archetypes vary to allow for the artist’s individual slant (like, in this collection, Carlo’s characteristic rendition of the top hat-fat archetypical bourgeois laughing at the gullibility or helplessness of workers).
All of a cartoon, all its details and references, are consciously or subconsciously chosen to convey a point of view, a nailed-down perception, a historical perspective. In old socialist cartoons the worker is always bigger and stronger than his enemies. He needs only to be awakened to an awareness of his strength.
It is almost always a “he”. The socialists who drew these cartoons were, themselves and their organisations, militant for women’s rights, but little of that is in their work.
One of the difficulties with old socialist cartoons for a modern viewer is that the stereotype-capitalist wears a top hat and is stout or very fat. In some early 20th century British labour movement cartoons he is named, simply, “Fat”. Fat now, in our health-conscious days, is seen as a characteristic of lumpenised workers and other “lower orders” people.
Much contemporary comedy is a hate-ridden depiction of the poor, the disadvantaged, the excluded, the badly educated, by physical type – fat and slobby. Where most of the old racial and national caricatures have been shamed and chased into the underbrush, no longer tolerable to decent people of average good will, the old social-Darwinian racism against the poor is rampant still, unashamed and not often denounced.
Even so, the old symbols, the fat capitalist and the big powerful worker, are still intelligible. They depict truths of our times as well as of their own. These cartoons still live.
They portray US politics, governments, the class struggle, the labour movement, America’s “Jim Crow” racism, Stalinism at its zenith, Roosevelt’s New Deal, Harry Truman’s “Fair Deal”, Senator Joe McCarthy, McCarthyism. They present clean and stark class-struggle socialist politics, counterposed to both capitalism and Stalinism.
A few are from the 1920s, but mainly they cover the quarter century after the victory of Hitler in Germany in 1933. and the definitive consolidation of Stalinism in the USSR.
Across the decades, they still carry the emotional hostility to the master class and solidarity with their victims that they were drawn to convey; the socialists’ abhorrence of the Stalinist atrocities that discredited and disgraced the name of socialism (they themselves were often among the targets); the desire, hope and drive for a re-made world — a socialist world. They blaze with anger and hatred against the horrors of America’s all-contaminating Jim Crow racism.
These cartoons were of their time, and what their time and earlier times led socialists to expect of the future. They were often mistaken. Government repression during World War Two was less fierce than the severe persecution of socialists and militant trade unionists in World War One and afterwards, led them to expect.
In the later 1940s, like most observers, they saw World War Three looming. In fact, the world settled into a prolonged “balance of terror” after Russia developed an atom bomb in 1949 and the USA and Russia fought a proxy war on Korean soil which ended in stalemate. The economic collapse which the experience of the 1930s led them to expect did not come (though in fact the long capitalist upswing took off only with the Korean war boom of 1950-3). Plutocratic democracy in the USA, during the war and after it, proved far less frail than the Marxists feared it would.
Over many years I have collected photocopies of these cartoons, buried as they were in files of old publications for six, seven or eight decades. I think others will be moved by them too.
What Peadar Kearney wrote fifty years after their time of the Fenians, the left-wing Irish Republicans of the 1860s and 70s, speaks to the socialists of the era covered by this book as well:
“Some fell by the wayside
Some died ‘mid the stranger,
And wise men have told us
That their cause was a failure;
But they stood by old Ireland
And never feared danger.
Glory O, glory O,
To the bold Fenian men!”
From the Dockland & East London Advertiser:
Artist ‘censored’ by Tower Hamlets Council at Bangladeshi exhibition
Above: Saif Osami with some of his work at the Brady Arts Centre
By Adam Barnett, Reporter
A Bangladeshi artist has criticised the Council after he was told some of his work was too controversial for public display
Above: one of the pieces deemed “too controversial” by Tower Hamlets Council
Saif Osmani, 32, who was born in Whitechapel, was invited to show his work at the Brady Arts Centre in Hanbury Street as part of a season of Bangladeshi drama and art.
But when Mr Osmani arrived on November 2 he says he was told by a council arts officer that four of his pieces, which combine the Pakistani and Bangladeshi flags, might anger “hardliners” and would not be shown.
Mr Osmani, who lives in Stratford, said: “I was told that due to the political situation in Bangladesh I was unaware of what this series of paintings could trigger with the ‘hardliners’.
“I can’t see why these events happening thousands of miles away have started dictating this exhibition here in the UK.”
Tower Hamlets Council declined to say who its arts officer meant by “hardliners”.
Mr Osmani said the rest of his work was moved to a corner of the room near the toilet and was later hidden by a pull-up banner.
Akhtar Hussain, of art group Avid Art Agency, said: “It is an absolute disgrace that this level of censoring is taking place in the name of political correctness at an event which was supposed to celebrated British and Bangladeshi arts, but instead curtails the content of the art on display.”
A spokesman for the council said: “We are clear that there has been no censorship in relation to this exhibition.
“As with any public space the council does have the right to decide what is exhibited and in this case the pictures chosen were fully discussed and agreed between the artist and a member of the council arts team.”
The exhibition runs until November 22 at the Brady Arts and Community Centre in Hanbury Street.
Assuming that the article is accurate, this would appear to be an outrageous act of censorship. But what exactly are the political motives that lie behind it? And who are these “hardliners” who might be angered by the paintings? Any information from readers would be most welcome.
Ive only just discovered QualiaSoup, an artist and thinker whose YouTube videos present the case for rational, critical thinking and the scientific method. It’s excellent stuff, that anyone with religious hang-ups, belief in the “supernatural,” tolerance of backward ideas in the interests of “open-mindedness” and indeed quite a few people who consider themselves “Marxists,” would do well to watch and ponder. Here’s an example:
P.S: It transpires that QualiaSoup has a brother, TheraminTrees (!)
Steve Bell’s ‘If’ strip in the Graun has recently been concerning itself with imagery about Murdoch, Netanyahu and a glove puppet, plus references to a so-called “Aunty Semitic” “Trope.” Guardian readers who are unaware of the background to this will have been mystified as to the meaning of it all – but then that’s not unusual with a Bell cartoon. Regular readers of Shiraz should be aware of what lies behind it: a Bell cartoon back in November was was widely criticised for reproducing the long-standing antisemitic “trope” (ie: “stereotype”; in this case, that of the puppet-master, as widely used in Nazi and contemporary Middle Eastern propaganda). Eventually, the Guardian‘s reader’s editor agreed (to a very limited degree) with the criticism. Bell refused acknowledge even the possibility that his cartoon was ill-judged and seems to have been smarting ever since.
dropped in and sensitivities are talked up .. the very word
‘antisemitic’ becomes devalued…
“.. they throw it around with such abandon. If there really is
antisemitism it’s actually getting ignored…”
“Blonds make the best victims” – A. Hitchcock
First things first: last night’s BBC 2/HBO film The Girl was absolutely superb – by far the best new work to be seen on Brit TV over the Christmas season. If you missed it, make sure you catch up via iplayer or whatever, asap.
Briefly, this was the story of Alfred Hitchcock’s choice of the previously unknown Tippi Hedren to star in The Birds (his follow-up to Psycho) and his obsession with her, culminating in a campaign of bullying and intimidation when she rejected his blundering advances. Finally, Hitchcock sabotaged her career by refusing to either release her from her contract or to use her in any more films, apart from the rather unpleasant Marnie.
His behaviour, these days, would be considered completely unacceptable and probably place him beyond the pale in the eyes of polite society.*
Once again we are confronted with the old conundrum: to what extent is it possible to separate a great artist from the more unpleasant aspects of his (and, it would seem, it is usually “his” rather than “her”) personality? As an admirer of Philip Larkin I have difficulty coming to terms with evidence of his misogyny and racism, just as admirers of Eliot and Pound have (or should have) difficulty with the fascist sympathies of those two, and Picasso enthusiasts ought to be at least concerned by his Stalin-worship (which lasted into the 1950s). As for unacceptable sexual practices, the superb sculptor and designer Eric Gill probably leads the field, though I’ve no doubt there have been plenty of other major artists with similarly hideous sexual proclivities. Benjamin Britten‘s interest in adolsescent boys has long been the subject of speculation, though in fairness it should be stated that there has never been any evidence that he engaged in paedophilia.
Anyway, The Girl, based as it was upon Tippi Hedren’s own accounts (in interviews) of what happened, pulled no punches and made no effort to excuse or explain-away Hitchcock’s behaviour. But, thanks to a masterful performance by Toby Jones, we feel pity as well as disgust. Hitchcock was, by his own description, a fat, ugly walrus of a man who had only ever had sex with his wife (for whom the term “long suffering” scarcely suffices) and, now in his sixties, was impotent anyway. According to Jones’ portrayal, he appears to have felt that Hedren simply owed him a tumble for having made her a star.
The question that The Girl poses but doesn’t answer, is to what extent Hitchcock’s sexual obessions contributed to the dark, ambiguous power of his best work.
As well as Jones’ extraordinary portrayal, Sienna Miller gives a strong (in every sense of the word) performance as Tippi Hedren and Imelda Staunton deserves a mention for her profoundly sad Alma Hitchcock.
Why is the left quiet about Pussy Riot? Панк-молебен “Богородица, Путина прогони” Pussy Riot в Храме
“It was a sin against God and God is judging it; and all Christians should know this…
“For the Orthodox Church, like for Muslims, of course the authorities and the church are understood as one thing. Our Ideal is the unity of the church and the authorities, and unity of the people and the authorities.
“in this way, we are decidedly different from the west. I think attempts in the west to seperate the spiritual sphere and secular sphere is a historical mistake. Such a division is not characteristic to any civilisation except the west” – Vsevolod Chaplin, Senior Priest, Spokesman of the Russian Orthodox Church and advocate of harsh punishment of Pussy Riot.
Above: The three members of the Pussy Riot band — Nadezhda Tolokonnikova, Maria Alekhina, and Yekaterina Samutsevich — rejected charges of hooliganism for performing a “punk prayer” in Moscow’s main cathedral against Vladimir Putin’s return as president.
A group of brave, smart, peaceful but militant young women confront a thuggish, authoritarian President and a corrupt church hierachy and have already been jailed without trial for five months: what’s not to like about Pussy Riot?
Yet the “left” has, on the whole, been strangely reticent about supporting them: why?
A number of possible explanations present themselves:
1/ They are anarcho-feminists and conceptual artists, not leftists.
2/ (Following on from #1): they have no clear demands or programme.
3/ They already have celebrity support from the likes of the Red Hot Chili Peppers, Peter Gabriel and Stephen Fry.
4/ Much of the western “left” is actually rather sympathetic to Putin, because he’s part of the pro-Assad/Iranian axis that they, more or less openly, support. Many of them also seem to have a built-in predisposition to support dictators and to despise any form of democracy.
5/ Pussy Riot are being done not just for “hooliganism” against the Putin regime, but also for “religious hatred” – a concept that much of the western “left”, having discovered the joys of Islamic fundamentalism, now supports (in the sense of agreeing that insulting and/or criticising religion is Bad and should be illegal). The semi-literate SWP blogger Lenny “Seymour” Tombstone, for instance, recently coined the term “theophobia” and meant it as criticism (in his case, of Christopher Hitchens). Pussy Riot are nothing if not “theophobic.”
Objections #1 and #2 don’t really stand up, given that much the same could be said of the “Occupy” movement that most of the far-left had no hesitation in supporting. #3 has also never been a problem for the “left” before now: the so-called Stop The War Coalition, for instance, is very happy to accept ‘celebrity’ endorsement.
Which leaves us with #4 and #5: almost certainly the real reasons. And despicable ones at that.
Support Pussy Riot!
Here’s what they now face seven years in jail for doing (the “punk prayer”):
What’s going on with Pussy Riot, explained, here.
Good(ish) piece by Suzanne Moore in the Graun, here.
The nearest thing there is to an “official” Pussy Riot site, here.
Above: “ugly, insecure and grotesque”
Marx and Engels gave a materialist explanation of the origin of the aesthetic sense itself. They noted that man’s artistic abilities, his capacity for perceiving the world aesthetically, for comprehending its beauty and for creating works of art appeared as a result of the long development of human society and were the product of man’s labour. As early as in his Economic and Philosophic Manuscripts of 1844, Marx pointed to the role of labour in the development of man’s capacity to perceive and reproduce the beautiful and to form objects also “in accordance with the laws of beauty” (Marx and Engels, Collected Works, Vol. 3, Moscow, 1975, p. 277).
This idea was later developed by Engels in his work Dialectics of Nature, in which he noted that efforts of toil “have given the human hand the high degree of perfection required to conjure into being the pictures of a Raphael, the statues of a Thorwaldsen, the music of a Paganini” (see pp. 128-29 of this book). Thus both Marx and Engels emphasise that man’s aesthetic sense is not an inborn, but a socially-acquired quality.
The founders of Marxism extended their dialectical view of the nature of human thought to analysis of artistic creativity. In examining the development of art together with that of the material world and the history of society, they noted that the content and forms of art were not established firmly once and for all, but that they inevitably developed and changed according to definite laws along with the development of the material world and of human society. Each historical period has inherent aesthetic ideals and produces works of art corresponding to its particular character and unrepeatable under other conditions. Comparing, for example, the works of Raphael, Leonardo da Vinci and Titian, Marx and Engels emphasised that “Raphael’s works of art depended on the flourishing of Rome at that time, which occurred under Florentine influence, while the works of Leonardo depended on the state of things in Florence, and the works of Titian, at a later period, depended on the totally different development of Venice” (p. 177).
The problem with the Shard is that it is ugly, insecure and grotesque.
The ‘lets build the tallest building’ game is best left to children and the insecure. Dubai is obsessed with having the tallest building because it is not a place which really exists. It is a city literally built on sand, like some wrongheaded parable. It has a great deal to prove. Sydney throws up skyscrapers despite the plentiful space available because Australia is so deeply insecure about its importance. London never needed to. Confident cities build low because they have nothing to prove. And there is no use saying, as Ken Livingstone did on the Today programme this morning, that we have run out of space and need to build up. The building is empty. There is no demand for what it is offering –Ian Dunt
P.S (from JD): I like handsome, well-designed skyscrapers, including some of Piano’s previous work.