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.”

Black lives, history, respect, status matters

From across the USA …

These pictures show just how large the protests against police brutality really areBuzzfeed News
Across major cities and small towns, people turned out en masse to demonstrate against the police killing of George Floyd and to call for change in the US.

… and across the decades …

This is what 100 years of racial protest looks like in AmericaBuzzfeed News
From the 1917 silent protests in the streets of Manhattan to the recent national unrest following the killing of George Floyd, these pictures capture the long and tumultuous struggle for racial justice in the US.

… to cities all around the world, right now.

Images from a worldwide protest movementThe Atlantic
Over the weekend, demonstrations took place around the world, with thousands of people outside the United States marching to show solidarity with American protests over the killing of George Floyd by Minneapolis police. In many places, marchers also voiced their anger about systemic racism and police brutality within their own countries.

From our streets, to our museums …

‘Time to give back the swag, guys!’ British Museum unleashes Twitter storm with statement on Black Lives MatterThe Art Newspaper
“Look, I love you guys, but maybe you ought to sit this one out,” said one Twitter user, Jeff Pearce, a novelist and historian. “Unless you plan to return the looted Ethiopian treasures, the stolen Elgin Marbles and permanently return the Benin Bronzes.”

… and living rooms.

Little Britain pulled from iPlayer and Netflix because ‘times have changed’BBC News
In 2017, Lucas said: “If I could go back and do Little Britain again, I wouldn’t make those jokes about transvestites. I wouldn’t play black characters. Basically, I wouldn’t make that show now. It would upset people. We made a more cruel kind of comedy than I’d do now.” Walliams has also said he would “definitely do it differently” in today’s cultural landscape.

Times may have changed for some, but change is moving too slowly for others.

Windrush scandal: only 60 victims given compensation so farThe Guardian
Only 60 people have received Windrush compensation payments during the first year of the scheme’s operation, with just £360,000 distributed from a fund officials expected might be required to pay out between £200m and £500m.

Resisting political negativity

It’s hard to stay positive about politics these days.

Chief Rabbi launches unprecedented attack on ‘mendacious’ Jeremy Corbyn over Jew hateThe Jewish Chronicle
Also highlighting shadow chancellor John McDonnell’s claim that the party is now “doing everything” to tackle the crisis, the Chief Rabbi says: “The claims by leadership figures in the Labour Party that it is ‘doing everything’ it reasonably can to tackle the scourge of anti-Jewish racism and that it has ‘investigated every single case’ are a mendacious fiction.” …

In a clear reference to Jewish MPs such as Dame Louise Ellman, Luciana Berger and also to the whistleblowers who spoke out about Labour’s failure to tackle the problem in a BBC Panorama documentary, he writes: “We sit powerless, watching with incredulity as supporters of the Labour leadership have hounded parliamentarians, party members and even staff out of the party for facing down anti-Jewish racism.”

Harry Dunn’s family urge voters to unseat Dominic RaabThe Guardian
They said: “We are not political people. Whatever political thoughts we hold we generally keep to ourselves. But the enormity and shocking nature of what has happened to us have left us feeling compelled to come to Esher and Walton this evening in the midst of the current election campaign. We feel that his handling of our situation has been so outrageously dishonourable and disrespectful that we have a duty to respectfully bring these matters to the direct attention of that local community that have until now voted him into this position.”

Tony Blair says Tories and Labour engaged in ‘populism running riot’The Guardian
“We’re a mess,” Blair said. “The buoyancy of the world economy has kept us going up to now, but should that falter, we will be in deep trouble. Investment is down; jobs in certain sectors are already moving; our currency stays devalued sharply; and market sentiment swings between anxiety and alarm.

“And across a range of international issues which matter to us, we’re irrelevant – too preoccupied to spare overstretched bandwidth of attention. Our politics is utterly dysfunctional.”

Nine key facts about the election everyone keeps getting wrongWired UK
The 2019 general election is proving to be one of the most complicated to discern, as candidates and political parties move away from traditional truth-stretching and fact-massaging to more malicious potential falsehoods.

The public have also picked up on it, too, becoming more tribal, overlooking obvious facts when they do not chime with their viewpoint. It’s also an immensely important election, so we’ve taken the time to look at several key areas and bust some “facts” you may hear from the mouths of politicians, pundits and the general public that prove to be… less than factual.

I need to revisit my earlier post, I think, It’s not all bad news, and its links to Hans Rosling’s work. I’m currently reading and thoroughly enjoying his “Factfulness: Ten Reasons We’re Wrong About the World—and Why Things Are Better Than You Think”, a book needed now more than ever.

FactfulnessGapminder
Factfulness is a relaxing habit for critical thinking. It helps you maintain a fact-based worldview. It teaches you how to recognise and avoid the most common ways information gets misinterpreted.

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Look again

I’ve got the art degree, I know all about the male gaze, but here’s something I’m embarrassed to say I’ve not really considered before.

How black women were whitewashed by art
All it takes is a few minutes of searching ‘Queen of Sheba painting’ on Google Images to see a litany of reclining, exoticised white women glancing languorously either at the viewer or King Solomon. There were once some depictions of the Queen of Sheba as dark-skinned, but the Renaissance saw her whitewashing and sexualisation on a grand scale. For Ohajuru it jars with earlier depictions of her, such as that seen at the altarpiece of Klosterneuburg in Austria, which portrays her visiting the king next to an image of the Adoration of the Magi. “She was used as a prefiguration, a foreteller, a prophesiser, that a king would visit the baby Jesus, just as a queen visited Solomon.” By the 18th Century she is no longer a queen meeting a king to have a healthy debate – she is an idolatrous seductress.

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Of blackness and ‘beauty’
Unlike his predecessor, Bazille does not capture a black woman as a servant to a naked, white prostitute as Manet does in his famous Olympia painting, but rather as a human being who exists outside of deference to a white woman. Peonies, symbols of riches, honor, and prosperity, surround her. She extends one flower out toward the frame as if a potential patron has approached her station. Like Manet’s black model Laure, she wears a headscarf and white outfit, but this peony-possessing woman’s features are much more defined. One cannot lose the connection of her curved lips from top to bottom, or the shape of her eyebrows. In contrast, Olympia, which many art historians call a modernist update to Titian’s Venus of Urbino (1534), has inspired much study of Victorine Meurent, the naked white model who is staring directly at the spectator, instead of her servant Laure, whose history is sparsely documented. Her last name is not on record. It is another example of how a black model’s humanity is not given the same recognition as that of her white female counterpart.

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