what a treat to find your email in my inbox. Your thoughtful and engaging posts were sorely missed.
Regarding censorship, the only outright case of my art being excluded from a show was in China! My tapestry of Somalian refugees was seen as glorifying the Uyghurs (and this was in the early 2000's). I was told Mao's daughter had viewed the preview and did not like the work. As a compromise after my complaints, the work was hung in a hallway.
On this continent (I am Canadian) I have been told my art will offend people but I have never had it taken down from a show and controversial tapestries have been juried into group shows. One tapestry, an image in the style of a Russian icon except that the madonna was holding a teddy bear, provoked a lot of comments ranging from "Christians will be offended" to "The blessed mother loved everyone" (This was a nun and I think she saw the teddy bear as a black baby). The tapestry appeared in many exhibits at the time.
It will be interesting to see what this survey turns up! I find a split in my answer so I have a yes-but answer: I don’t create political visual art—I do, however, write prolifically. When I do, it usually addresses how creativity can be used against fascism based upon history or how to defend against the oncoming digital dark age we are entering blindly. So my work is about waking people up to what is possible. In this there is criticism which easily could be censored or banned.
I DO think about this when I post, and I have stopped posting links to my writings here on other platforms under the watch of oligarchical right wing figures. Unfortunately a similar shift is underway here and I find myself considering what to do about it, as I begin to restrict access to certain themes of my work. This research has sprouted my Sunday Owning The Pen series about claiming our own spaces independent of platforms to house our work. I figure, whatever I come up with as a solution, everyone is entitled to as well.
So? Yes… But—I am doing something about it so I won’t have to keep saying ‘Yes.’
👉🏻So should everyone else. Make the decisions and shift now, before things get narrower.
Inevitably I believe everyone will have a degree of Yes. The pendulum swing has only begun its arc. History shows us, century after century what happens in the next 40 years does not shift momentum until it has fully swing its arc. We are only in its outset, my friends. Buckle up.
I was so happy to see you in my inbox this morning! As an (ashamed and utterly appalled) American, I am horrified at the Trump administration’s attack on the Smithsonian (and public radio, science in general, and immigrants - the list could go on). I have never seen a flag burning here, but like with everything, I’m not surprised he’s making it seem like it is happening all the time everywhere. During the No Kings protest I attended, many people were proudly reclaiming the American flag in the name of the constitution and founding fathers, so I’m not even sure who would be burning them at this point.
I love that you will feature artists and this new format. Thank you for putting your thoughts into the world!
Yes! As if it’s happening everywhere, when it may be one or two occurrences out of context!
We are being subjected to a fiction of ‘problems’ in order to avoid actually addressing the real ones. Attempting to rewrite the permissible dialogue of what the United States, or any country is about has traditionally failed because there are always those who remember once the dust has cleared.
The attack on The Smithsonian and the publicly funded museums opens up a new chapter on private funding and the expansion of galleries and museums which can maintain a clear voice. We are actually at an interesting threshold; it will be interesting to see who goes to any of these curated institutions displaying censored work and history. My suspicion is their business model will have to change.
Unfortunately creating and maintaining grass roots support of the ‘free arts’ will be an uphill battle. Encouraging artists to maintain their own, uncensored voice requires creating and supporting spaces tolerant of an open dialogue where they can show their work. Suddenly restaurants, shops and community spaces become the place to create more exhibition areas. Instead of striving toward prestige gallery representation, artists will need to return to their communities. Decentralization is key.
Attending protests wearing some representation of art with your or a fellow artist’s voice, rather than being repressed to create art which has none, would be the new approach and goal.
It’s wonderful to have you back and read your page again, packed with captivating perspectives that encourage further research and reflection. Thank you! I enjoyed both videos of Pop L and Pfeiffer.
I am so proud and delighted that you are back again, as l do not think that any body matches your abilities to command with such clarity the subjects you bring to your readers.
Yes, all good here! I’m really excited because I’ve just published a book on London street art. It brings together interviews with local artists, my own reflections, history, documentation, fine art photography, and urbanism. I think you’d enjoy it, because it doesn’t reduce street art to a catalog of murals, but looks at both the tension and the beauty, the fleeting and the monumental. I won’t drop a link here so as not to be spammy under your post, but you can find more details and photos on my profile if you’re curious. 😉
what a treat to find your email in my inbox. Your thoughtful and engaging posts were sorely missed.
Regarding censorship, the only outright case of my art being excluded from a show was in China! My tapestry of Somalian refugees was seen as glorifying the Uyghurs (and this was in the early 2000's). I was told Mao's daughter had viewed the preview and did not like the work. As a compromise after my complaints, the work was hung in a hallway.
On this continent (I am Canadian) I have been told my art will offend people but I have never had it taken down from a show and controversial tapestries have been juried into group shows. One tapestry, an image in the style of a Russian icon except that the madonna was holding a teddy bear, provoked a lot of comments ranging from "Christians will be offended" to "The blessed mother loved everyone" (This was a nun and I think she saw the teddy bear as a black baby). The tapestry appeared in many exhibits at the time.
Welcome back.
Barbara Heller
It will be interesting to see what this survey turns up! I find a split in my answer so I have a yes-but answer: I don’t create political visual art—I do, however, write prolifically. When I do, it usually addresses how creativity can be used against fascism based upon history or how to defend against the oncoming digital dark age we are entering blindly. So my work is about waking people up to what is possible. In this there is criticism which easily could be censored or banned.
I DO think about this when I post, and I have stopped posting links to my writings here on other platforms under the watch of oligarchical right wing figures. Unfortunately a similar shift is underway here and I find myself considering what to do about it, as I begin to restrict access to certain themes of my work. This research has sprouted my Sunday Owning The Pen series about claiming our own spaces independent of platforms to house our work. I figure, whatever I come up with as a solution, everyone is entitled to as well.
So? Yes… But—I am doing something about it so I won’t have to keep saying ‘Yes.’
👉🏻So should everyone else. Make the decisions and shift now, before things get narrower.
Inevitably I believe everyone will have a degree of Yes. The pendulum swing has only begun its arc. History shows us, century after century what happens in the next 40 years does not shift momentum until it has fully swing its arc. We are only in its outset, my friends. Buckle up.
So happy and grateful you are back!
I was so happy to see you in my inbox this morning! As an (ashamed and utterly appalled) American, I am horrified at the Trump administration’s attack on the Smithsonian (and public radio, science in general, and immigrants - the list could go on). I have never seen a flag burning here, but like with everything, I’m not surprised he’s making it seem like it is happening all the time everywhere. During the No Kings protest I attended, many people were proudly reclaiming the American flag in the name of the constitution and founding fathers, so I’m not even sure who would be burning them at this point.
I love that you will feature artists and this new format. Thank you for putting your thoughts into the world!
Yes! As if it’s happening everywhere, when it may be one or two occurrences out of context!
We are being subjected to a fiction of ‘problems’ in order to avoid actually addressing the real ones. Attempting to rewrite the permissible dialogue of what the United States, or any country is about has traditionally failed because there are always those who remember once the dust has cleared.
The attack on The Smithsonian and the publicly funded museums opens up a new chapter on private funding and the expansion of galleries and museums which can maintain a clear voice. We are actually at an interesting threshold; it will be interesting to see who goes to any of these curated institutions displaying censored work and history. My suspicion is their business model will have to change.
Unfortunately creating and maintaining grass roots support of the ‘free arts’ will be an uphill battle. Encouraging artists to maintain their own, uncensored voice requires creating and supporting spaces tolerant of an open dialogue where they can show their work. Suddenly restaurants, shops and community spaces become the place to create more exhibition areas. Instead of striving toward prestige gallery representation, artists will need to return to their communities. Decentralization is key.
Attending protests wearing some representation of art with your or a fellow artist’s voice, rather than being repressed to create art which has none, would be the new approach and goal.
It’s wonderful to have you back and read your page again, packed with captivating perspectives that encourage further research and reflection. Thank you! I enjoyed both videos of Pop L and Pfeiffer.
Wonderful to have you back.
Thanks Leila! It feels good to be writing about art again.
Darling what a delight to read your articles.
I am so proud and delighted that you are back again, as l do not think that any body matches your abilities to command with such clarity the subjects you bring to your readers.
Elizabeth
I'm so happy you are back!
Thanks Giulia and do good to hear from you. Hope it’s all going well for your graff tours?
Yes, all good here! I’m really excited because I’ve just published a book on London street art. It brings together interviews with local artists, my own reflections, history, documentation, fine art photography, and urbanism. I think you’d enjoy it, because it doesn’t reduce street art to a catalog of murals, but looks at both the tension and the beauty, the fleeting and the monumental. I won’t drop a link here so as not to be spammy under your post, but you can find more details and photos on my profile if you’re curious. 😉
Great to have you back. Genuinely happy to see your name pop up on my screen 🧡
Thanks Sian. Feels good to be writing about art again ❤️