Friday roundup, Monday edition
Post #1399 • October 5, 2009, 7:05 AM • 57 Comments
"Yale's censorship is of course very damaging. Not only to academic freedom and freedom of expression but also to those Muslims around the world who want to enjoy the same kind of liberties that we do. Why is this? Well, by legitimizing censorship in the U.S., Yale sends a strong signal to those forces in the Muslim world who use censorship to silence criticism of the powers that be. They also tell Muslim majorities that they can play the offense card to attack religious, ethnic or sexual minorities. I think censoring the cartoons is very discriminating against Muslims because Yale in fact is saying, 'OK, we understand that you are so wild and uncivilized that we apply a different standard to you than we do to everybody else.' If I were a Muslim I'd be very offended by this." FIRE's Adam Kissel interviews Flemming Rose, editor at the Jyllands-Posten.
"I'm sure 'care ethics, affective labour' and 'corresponding notions of otherness and the marginal' are gripping subject matter, at least for an undergraduate socio-political thesis. Or for arts funding applications, with which such things may sometimes be confused. But are ruminations on 'affective labour' and 'the politics of otherness' really in demand as themes for a publicly funded city-wide art festival? Is that what punters want, and artists, and taxpayers?" David Thompson wonders.
"The problem was much more elementary, and for that reason considerably less explicable. Perhaps the most basic requirement for any art exhibition is that it should somehow add up to more than the sum of its parts - the gathered objects somehow coaxed into telling a story, making a case or at least conveying an insight. Insofar as Futurism told any sort of story, however, it was one in which the Italian regional specificity of Marinetti's Futurist movement was swapped for a blandly international smorgasbord including some rather good art that influenced the Italians, some rather weak art influenced by the Italians, and, if one wished to be cynical about it, a few Cubist masterpieces to boost the overall 'oomph' quotient, insofar as the rather dry and esoteric alchemies of analytic Cubism might be said to deliver something so coarse as an 'oomph.'" Bunny Smedley, as far as I'm concerned, is writing the best art criticism anywhere.
"Reports of the art world's demise are greatly exaggerated. That much was clear from the enthused crowds that swarmed through Wynwood during this past season's monthly gallery walks, blithely unaware that the Miami art scene was now supposedly 'dead' - another victim of the economic downturn." Brett Sokol reports.
American Artist magazine and its subsidiary publications have a new mega-site: ArtistDaily.com.
Piri Halasz has a new book out. Walter Darby Bannard writes: "The writing is animated and very personal and self-reflective, particularly in the earlier parts, where she just comes right out and says what she is seeing and feeling, giving us a refreshingly open and impartial 'you were there.'"
Department of Skills: Falco Scheffler.