Black and white thinking

Do you remember the hype about Vantablack, the blackest black that absorbs 99.96% of light shone on it? I mentioned it a while back when BMW used it for one of their cars, though I could have sworn that I had shared these links too:

Can an artist ever really ‘own’ a colour?The Guardian
Painters are outraged that Anish Kapoor, the British sculptor who designed the blood-red Orbit tower for the London Olympics, has exclusive rights to the artistic use of this revolutionary new colour. NanoSystems has confirmed that he alone can paint it Vantablack.

Absurdism: Artists fight over use of world’s “blackest black” & “pinkest pink”WebUrbanist
Recently, as a sort of satirical retaliation, British artist Stuart Semple created a flourescent pink pigment, designed to be the “pinkest pink” in the world. To drive the point home, the shade is available for purchase (just a few dollars per pot) to anyone on the planet except Kapoor, who is legally banned from buying the stuff.

Museum visitor injured after stepping into pit he thought was a painting on the floorBoing Boing
British artist Anish Kapoor licensed the worldwide exclusive rights to use Vantablack in art, which makes him kind of an asshole, but we’ve already complained about him on Boing Boing and that’s not the point of this post. The point is that Kapoor has a work of art at the Serralves Museum in Porto, Portugal called Descent Into Limbo. It’s an eight-foot deep pit and because Kapoor painted the interior of the pit with Vantablack, it looks like a two-dimensional black circle painted on the floor of the museum. You can guess what happened next.

Anyway, this was the link I wanted to share this time.

Whitest-ever paint could help cool heating Earth, study showsThe Guardian
The new paint reflects 98% of sunlight as well as radiating infrared heat through the atmosphere into space. In tests, it cooled surfaces by 4.5C below the ambient temperature, even in strong sunlight. The researchers said the paint could be on the market in one or two years. White-painted roofs have been used to cool buildings for centuries. As global heating pushes temperatures up, the technique is also being used on modern city buildings, such as in Ahmedabad in India and New York City in the US. […]

Andrew Parnell, who works on sustainable coatings at the University of Sheffield, UK, said: “The principle is very exciting and the science [in the new study] is good. But I think there might be logistical problems that are not trivial. How many million tonnes [of barium sulphate] would you need?” Parnell said a comparison of the carbon dioxide emitted by the mining of barium sulphate with the emissions saved from lower air conditioning use would be needed to fully assess the new paint. He also said green roofs, on which plants grow, could be more sustainable where practical.

The sunglasses are a nice touch, but Parnell’s point high-lighted above definitely needs addressing, I think.

Getting galleries right — for all of us

It’s been months since I’ve been to a gallery or museum. More of them are reopening, though many are still facing a difficult future. But how they are dealing with their past and present is just as challenging.

Black artists and gallerists on what a more inclusive art world would look likeArtsy
In an interview with Hyperallergic, Brandon explained her comment. “Ever since I started working at SFMOMA, I have watched leadership tokenize their non-white employees all while trying to silence them by implying that their concerns, frustrations, and experiences are not real,” she said. “The events that transpired regarding the Instagram post highlights leadership’s inability to recognize the racism within museums amongst employees and donors.” In recent weeks, five senior leaders have resigned from SFMOMA amid a growing chorus of accusations of institutional racism.

Penn Museum to remove skull collection of enslaved peopleHyperallergic
The objectionable collection belongs to Samuel George Morton, a 19th-century Philadelphia-born, UPenn-educated physician who collected hundreds of skulls, including those of enslaved Africans, Native Americans, and Cubans to try to reinforce his white supremacist, pseudoscientific theory that the brains of some races are larger than others.

Anish Kapoor says art gallery ‘tokenism’ with diversity must endThe Guardian
As he prepared to open the UK’s first large-scale art exhibition since the lockdown began in March, Kapoor delivered blistering criticism of the museum world. “Contemporary museums, they need to stop tokenism. Collect an Iranian artist here, a South African artist there or whatever. They need to really begin to try to properly take on … what is contemporary culture today? How do we represent it in objects in our museums. It is not straightforward. But tokenism can’t happen any longer.”

How recent anti-racism protests have pushed a longstanding debate about colonial looting in EuropeThe Art Newspaper
“All these things are connected,” says George Abungu, an archaeologist and former director of the National Museums of Kenya. “If the museums had dealt with it a long time ago, it wouldn’t have been looked at like this. But now history has caught up. Repatriation is part of this discussion about colonialism and racism.”

The museum where racist and oppressive statues go to dieAtlas Obscura
The museum’s message is clear: A monument is not a descriptive account of history, but instead a historical artifact that tells a story about power. In a setting that invites scrutiny, visitors can study Berlin’s monuments to grasp more clearly who had power and how that power was used. […]

“It is a great mistake to describe the monuments as history or heritage,” Neiman goes on. “We don’t memorialize every piece of our histories. We pick and choose those men and women whose lives embodied values we want our communities to share.”