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Academia Art Free-For-All Radical Ceramics

The Bollocks Is Bolted On

July 30, 2024 168 Comments

Further to this, and also via Charlotte Gill, let’s visit the world of politically radical tableware. Specifically,

Whiteness is a location of structural advantage, of race privilege. 

Because this is what you need to know when taking a class in ceramics:

We funded this.

But remember, universities need more money 😉 pic.twitter.com/gKEbweQsVG

— Charlotte Gill (@CharlotteCGill) July 29, 2024

For those deeply intrigued:

Participants will gain an understanding of the history of whiteness as a racial and social construct and discuss how it continues to embody and uphold white supremacy today. 

Well, obviously, you can’t just learn how to make plates.

Participants will be able to reflect on how highlighting whiteness in this way is crucial to any antiracist social justice work. These workshops are inclusive and open to all and will create a sensitive and supportive environment in which to develop our racial awareness. 

And hey, who wouldn’t want some of that lovely racial awareness? Or, less coyly, practised question-begging and pretentious racial guilt. Or unearned racial resentment, depending on how brown you happen to be. I mean, you can’t just go through life interacting with people as individuals. You have to cultivate a neurotic habit of seeing people as avatars of some supposedly put-upon racial group. Or conversely, as oppressors, as proven by their pallor, their deplorable whiteness.

And a fragrant utopia will surely follow.

The creative titan behind the project – named, inevitably, Working With Whiteness – is Victoria Burgher, a self-styled “artist from a colonising country,” for whom pretentious, and rather invidious, racial agonising has been a path to many grants and awards. Ms Burgher, we’re told,

uses porcelain as a ceramic material and investigative tool to reveal and challenge the hegemony of whiteness in relation to the values and legacy of British colonialism.

You see,

Porcelain, cherished as it is for its ‘purity,’ becomes an apt material and concept to embody, expose and contest social, cultural and historically constructed ideologies of whiteness.

And,

Her practice-based research explores how the properties of porcelain – its fractiousness and vulnerability when raw, its strength, whiteness and translucency when fired – can challenge terms such as fragility and innocence explored through ideologies of whiteness.

Strained metaphors are very in, it seems. Along with teetering piles of assumptions. Also, Bad Whitey. It’s all terribly original. Very daring. Not at all conformist.

It occurs to me, however, that Ms Burgher’s contrived, modish waffle may make a kind of sense if you think of it as an attempt to add social heft to the otherwise pedestrian art that she actually produces.

For instance:

“From The River To The Sea… #2 (2023). Porcelain, cobalt, gold lustre and glaze, 27cm.”

And,

“White But Working On It (2022). Glazed porcelain ceramic badges, 5-6 cm.”

And,

“Whiteness (2018). Ink on bagasse (sugar cane fibre), fabric, pins, 14 x 14 cm.”

It would, I think, explain a few things. As it often does.

Update, via the comments:

Regarding the unattractive objects shown above, and others very much like them, Martin D adds,

What kind of f*cked up people would think these were cool? Or even well made?

A fair question. One worth pondering.

Ms Burgher approvingly cites Ms Robin DiAngelo, the peddler of neurosis mentioned here, the L Ron Hubbard of wokeness, and whose devotees, as we’ve seen, are often wildly unhinged and nakedly malevolent. Which probably tells us much of what we need to know about Ms Burgher and her racial affectations. The mindset she wishes to inflict on others. And by extension, those who succumb.

And so, Ms Burgher makes her unattractive tat, and calls it art, and treads on ceramic eggshells, and calls it performance art, while listing the hallucinatory evils of having pale skin. And while telling those sufficiently credulous that “whiteness is oppression,” the source of all that is wrong, a basis for eternal shame, and that white people should “not behave white.”

You see, we will purge the world of bigotry by embracing wholesale the mental habits of the bigot.

So, yes. Someone quite fucked up.

Consider this an open thread. Share ye links and bicker.

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Written by: David
Anthropology Art Free-For-All Politics

Our Betters Make Plans

June 11, 2024 160 Comments

Attention, comrades. My fellow heroes, titans, thinkers of deep thoughts. It is time to map out the world of tomorrow:

There are no post revolution theatre troops, only post revolution mine troops, comrade. pic.twitter.com/ACIref7r9r

— Hegel Borg™️ (@xxclusionary) June 10, 2024

Because after the revolution, we will need accessible theatre.

Presumably, to take our minds off all the riots and ruin and burning cars. Earlier revolutionary rumblings can be found here and here. Topics covered include the pivotal importance of “artists and visionaries,” and the righteous washing of other people’s bin contents. Thereby enabling us to “eat from a revolutionary and resistance standpoint.”

Consider this an open thread. Share ye links and bicker.

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Written by: David
Anthropology Art Politics

The Put-Upon And Marginalised Finally Get A Word In

March 25, 2024 81 Comments

Time, I think, to better ourselves. Come, let us peek at the culture pages of the Guardian:

the unicorn is the subject of a major exhibition opening next weekend in Perth.

That’s Perth, Scotland. Lest there be confusion.

The first UK exhibition to investigate the cultural history of this elusive, magical, and well-loved creature will be the centrepiece of the opening celebrations at the new Perth Museum, after a £27m transformation of the former City Hall, 

Bear with me. I’m setting the scene. Stoking your anticipation.

“We’re exploring how people conceptualise an animal that they’ve never seen,” says the lead curator, JP Reid, 

White horse. Big horn.

“The unicorn was a symbol of innocence and chastity, and, in time, the story develops that the only way you can catch one is by baiting it with a virgin woman,” says Reid. He pauses. “There’s obviously a lot of innuendo going on.” 

Again, big horn.

at least half of the exhibition is dedicated to present-day incarnations. A mass display of crowd-sourced items – including My Little Ponies, novelty hats, rainbow-hued stuffed toys, and clothing – reflects the creature’s ubiquity across pop and kid culture. 

Ah, tat.

Brace yourselves for a full-on face-blast of culture:

Such wonders you’ll behold. Memories to treasure forever.

Because the above is “a modern symbol of the LGBTQI+ community.” And so, while claiming to give exposure to the supposedly marginalised and unseen, the virtuous by default, the curators are expecting visitors to be enthralled by objects of mass-produced banality that are, by their own admission, utterly ubiquitous.

But wait. There’s more.

the final section of the exhibition features six newly commissioned pieces exploring the ongoing challenges faced by the queer community globally, including transgender inclusion, conversion practices and institutional homophobia, transforming blank, life-size horse heads around the theme of “unicorn hunting in 2023.” 

One of the above. Presumably the most photogenic.

“Queer stories are so seldom told in museums,” says Jennie Grady, the community co-production officer who has worked in partnership with local LGBTQ+ groups on the exhibition. 

I’m just going to leave this here, I think. Consider it an illustration of what can be done. A cultural benchmark for our times.

Regarding the aforementioned seldomness, I briefly scanned recent listings and found that the museums and galleries busily “queering” their content include the British Museum (“Desire, Love, Identity: Exploring LGBTQ Histories”), the Victoria and Albert Museum (“A Queer History of Art”), Tate Britain, Tate Kids, Queer Britain (“A riot of voices, objects, and images from the worlds of activism, art, culture, and social history”), Brighton Museum, the London Art Fair, the Glasgow Women’s Library, the Museum of Transology, the Museum of London, National Museums Liverpool, National Museums Scotland, and the National Portrait Gallery.

So seldom. So terribly seldom.

Other vigorously “queered” content can be found at New York’s Whitney Museum of American Art; the Rijksmuseum in Amsterdam; and the Wellcome Collection, London, which among other things offers a “queer life-drawing workshop… focussing on queer bodies.” I have, due to space concerns – and the fear that readers may lose the will to live – omitted many more.

Despite which, Ashleigh Hibbins, the head of audiences at the Perth Museum, where unicorns await, tells us,

“This is a £27m project and an opportunity to tell stories in a different way – we’ve been telling the pale, male and stale stories in museums from time immemorial and for institutions to stay relevant we need to represent the people around us. It’s not just a moral consideration but a practical one.” 

Ah yes, those unheard voices. The dear downtrodden.

Via Julia.

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Written by: David
Art Politics The Great Outdoors

Indigenous Land Acknowledgement

March 16, 2024 92 Comments

Lifted from the comments, more pretentious agonising:

The Fitzwilliam Museum has suggested that paintings of the British countryside evoke dark “nationalist feelings.” The museum, owned by the University of Cambridge, has undertaken an overhaul of its displays… The new signage states that pictures of “rolling English hills” can stir feelings of “pride towards a homeland”… with “the implication that only those with a historical tie to the land have a right to belong.”

Or, Landscape Paintings Now Deemed Problematic, Racist.

Above, John Constable’s Hampstead Heath, circa 1820. Beware its morally corrupting influence.

The problem, we’re told, is that paintings from the eighteenth and nineteenth centuries are “leaving very little room for representations of people of colour.” And obviously, even the past must be made “inclusive and representative.” Which seems to mean that we must all pretend that our islands’ population and cultural assumptions have always looked like those of, say, twenty-first century London, a city whose demographics bear little relationship to those of the country as a whole, even in the twenty-first century.

It occurs to me that notions of racial “representation” will likely be distorted by the embrace of rather parochial progressive conceits, and by proximity to the nation’s capital, which in my lifetime has gone from a native white-majority city, over 90%, to a native white-minority one, around 35%, and which is wildly out of step with the rest of the nation. Things that are denounced as “horribly white,” or whatever the current term of disapproval is, may not seem so to people who live in, say, Chesterfield or Plymouth.

Likewise, the demographics of Cambridge are skewed rather significantly by students, who make up about a fifth of the city’s population, and of which more than 40% are students from overseas. Which, again, may tilt one’s view of what constitutes “representation.”

But apparently, museum visitors must be warned that the sight of a Constable landscape may trigger TERRIFYING BLOOD AND SOIL TENDENCIES. Or at least inspire thoughts of historical attachment, continuity, and belonging – thoughts that may be disconcerting or very much frowned upon, if only by the – wait for it – keepers of our heritage.

Update, via the comments:

It’s worth noting that the museum apparently had its annual Arts Council funding reduced – from £1.2M to £637K – on grounds that the institution “hadn’t fulfilled its targets of diversifying its audience.” Hence, one assumes, the new signage, the fretting about “representation,” and the stern moral warnings about “nationalist feelings.”

It’s not clear to me how one might “diversify” the racial makeup of visitors to the museum, which is what is meant, albeit coyly. And it occurs to me that part of that problem – if indeed it is a problem – might be a “diverse” immigrant demographic that by and large shows less interest in the artistic and cultural history of the country to which they have moved.

See also, the British countryside.

Update 2:

Regarding the urge to correct the racial makeup of museum visitors, Julia asks,

Press-gangs? 

Which isn’t entirely out of step with the general air of farce. The supposedly corrective fretting starts with a dubious, arbitrary assumption – that all racial groups should be visiting the museum in some given ratio, even though they choose not to. Those doing the fretting then set about insulting the people who do visit the museum by claiming that the things they have travelled to see, and with which they may feel some affinity, may result in “dark… nationalist feelings” and other unspeakable beastliness. By liking landscape paintings, they risk moral corruption.

Andy adds,

It seems every regional and local museum has been infected with this madness.

Indeed. It’s very often a condition of taxpayer subsidy, as illustrated above. And of course such ham-fisted measures, along with the encroachment of wokeness more generally, may strike some visitors as inapt or patronising, or vaguely alienating, thereby deterring further visits. While the sought-after “diverse” demographic continues choosing not to visit anyway.

But hey, progress.

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Written by: David
Art Free-For-All Politics Pronouns Or Else

The Regurgitation Of Slogans

March 10, 2024 151 Comments

Lifted from the comments, where Mr Muldoon directs us to,

Liberal Jane, a “queer feminist making art about bodily autonomy,” which amazingly looks like every other bit of dreck of the sort.

There is a dull mediocrity, a predictable trajectory:

I think it’s fair to say that, whatever her creative limitations, Liberal Jane, aka Ms Caitlin Blunnie, does like her slogans. One might say incantations. Almost all of which have an air of self-satisfaction, as if some previously unregistered profundity had been heroically unearthed.

One creation extols the radical virtues of skiving in the workplace and not doing the work one is being paid to do. “Craft is resistance in a late-stage capitalist society,” reads another. Also, “Self-love is self-care.” “Riots, not diets.” “Hex the imperialist, white supremacist, capitalist patriarchy.” “Fantasy is for everyone.” “Abortion builds new futures.” Oh, and “Smash the state and masturbate,” and “Stretch marks are ubiquitous to the human experience.”

And if even more excitement is called for:

Free digital downloads for educators.

The item below is a recent and fairly topical example of Ms Blunnie’s morally corrective offerings to the world:

Happy #InternationalWomensDay! 💜 pic.twitter.com/8LEdvZDeSj

— Liberal Jane (@liberaljanee) March 8, 2024

At which point, readers may note just how often progressive posturing seems to require a fairly high tolerance of contrivance and short-cuts, internal contradiction, and the kind of begged-question soundbites that are all but designed to shut down thought. A kind of pre-emptive short circuit.

For instance, in Ms Blunnie’s X feed, a professed concern for “bodily autonomy” appears alongside the slogans “Abortion builds new futures,” and “Funding abortion is an act of radical empathy,” along with a jolly pink poster for “Abortion Provider Appreciation Day,” which suggests that the bodily autonomy of some people, very small ones, doesn’t count.

And even if “bodily autonomy” applies only, and rather conveniently, to women, or a subset of women, one might have thought that it could extend to concerns regarding creepy, mentally ill men barging into women’s intimate spaces for a furtive wank.

But apparently not. Because “a woman is anyone who identifies as one.”

Update, via the comments:

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In which we marvel at the mental contortions of our self-imagined betters.