This is the week of the US midterm elections — like you haven’t noticed — so let’s get started, and I’ve included a bunch of jokes, since we all really need to laugh this week:
- Stop debating fascists writes Aleksandar Hemon:
To engage properly with Bannon and his ilk, the white nationalists and supremacists presently populating and energizing the American government, they must be identified as what they are: fascists. Much of American media and press on this side of the Fox News darkness does not dare to call out a fascist. That is partly out of knee-jerk complicity with the culture of leadership and celebrity worship. But I believe that it is also a matter of unbearable fear that the shape of American society, and the practices it has long depended on to maintain some semblance of democracy, are being destroyed, and no one quite knows what to do about it, save hoping to be saved by Mueller and/or impeachment.
If Bannon were to be called as he is, a fascist, the marketplace of ideas would have to confront the fact that the American government is being rapidly radicalized, that things unimaginable might be around the corner, and that there are many tempting paths to complicity of full collaboration. The idea that we’re all in this together and that we must keep talking is dangerous, just as my commitment to friendship was, because we might find ourselves wasting time and anger on a fundamentally unbalanced dialogue, where one side is armed with ideas, and the other is armed with weapons.
- Barry Schwabsky sings the praise of underdogs and looks at three gallery shows in New York to make his point:
Choose the underdog!—the phrase haunted me over the next few days. It touched a nerve. As everyone who follows the contemporary art scene knows, the market has been consolidating. A small number of mega-galleries have begun to dominate—threatening the very existence of the smaller and midlevel galleries, and therefore the livelihoods of the artists who exhibit in them. Now, just to be clear, as a viewer, I can hardly be all against the big galleries. Even if they have a tendency to highlight spectacle over substance, they also continue to put on the sort of in-depth historical shows museums ought to be doing, and they constantly draw attention to extraordinary contemporary practitioners. Still, it’s become more urgent to remind people of the vital work being done by artists struggling in the shadows of the new system. And besides, hasn’t it always been the case that artists inclined to explore the overlooked are themselves likely to be overlooked, at least in the short term?
- Nobel Prize winning novelist Orhan Pamuk writes about his beloved friend and photographer Ara Guler, who died this week:
For those who, like me, have spent 65 years in the same city — sometimes without leaving it for years — the landscapes of the city eventually turn into a kind of index for our emotional life. A street might remind us of the sting of getting fired from a job; the sight of a particular bridge might bring back the loneliness of our youth. A city square might recall the bliss of a love affair; a dark alleyway might be a reminder of our political fears; an old coffeehouse might evoke the memory of our friends who have been jailed. And a sycamore tree might remind how we used to be poor.
- An alternative history of Silicon Valley “disruption” by Nitasha Tiku (for Wired) that you have to read:
In Silicon Valley’s telling, however, “disruption” became shorthand for something closer to techno-darwinism. By imposing the rules of nature on man-made markets, the theory justified almost any act of upheaval. The companies still standing post-disruption must have survived because they were the fittest.
“Over the next 10 years, I expect many more industries to be disrupted by software, with new world-beating Silicon Valley companies doing the disruption in more cases than not,” Andreessen wrote in his seminal 2011 essay on software in the Wall Street Journal. “This problem is even worse than it looks because many workers in existing industries will be stranded on the wrong side of software-based disruption and may never be able to work in their fields again.”
Even after the word lost its meaning from overuse, it still suffused our understanding of why the ground beneath our feet felt so shaky. They tried to freak us out and we believed them. Why wouldn’t we? Their products were dazzling, sci-fi magic come to life. They transformed our days, our hours, our interior life. Fear of being stranded on “the wrong side,” in turn, primed us to look to these world-beating companies to understand what comes next.
- One of the most articulate and strongest voices in the Syrian community in the United States, Alia Malek, has the best response to this week’s news that Lena Dunham is writing a movie for Steven Spielberg about Syrian refugees:
In an era when people with bad intentions are killing, silencing and explicitly banning Syrians’ very presence, we need those of good intentions not to also exclude Syrians — in this case when it comes to telling their own stories.
Yes, all these projects are likely to be rooted in good intentions. But isn’t it clear by now that sometimes the best articulation of good intentions is to step aside and hand the microphone over to the very people who have been excluded from telling their own stories? Hold the mic, pay for the mic, make money from the mic — OK. But get off the damn mic.
- In case you haven’t figured it out, 2018 is the “identity politics” election. Dylan Scotts of Vox writes:
The midterms represent two very different bets about what kind of identity politics can win an election in America in 2018. Democrats are putting faith in a diverse, progressive future. Republicans see a much darker underbelly in the American electorate, and they are hoping to exploit it for another unexpectedly triumphant Election Day.
- A few years ago Al Jazeera produced a documentary about the “Israel Lobby” in the United States but then never released the film. Now, Electronic Intifada is releasing it (bootleg) episode by episode. So if you want to see what was censored by Al Jazeera, here’s your chance. According to the website:
It shows that Israel’s semi-covert black-ops government agency, the Ministry of Strategic Affairs, is operating this effort in collusion with an extensive network of US-based organizations.
- In an article about the mid-term elections, Bloomberg provides this map that indicates the issues mentioned most often in ads in House, Senate and gubernatorial races in 2018. The data is provided by Nielsen media market:
- This was the most heartwarming tweet of the week. Remember Parker Curry, the little girl who couldn’t get enough of the Michelle Obama portrait? Guess what she dressed up as for Halloween and, guess who loved it:
You nailed the look, Parker! I love it!!!!
— Michelle Obama (@MichelleObama) November 1, 2018
- And this tweet just screams “WHY?!” Fimally, indeed:
fimally! my family and giraffe son will enjoy this eggvention pic.twitter.com/UmhHxYxkgq
— Gina Tron (@_GinaTron) November 2, 2018
- And kinda related:
your scientists were so preoccupied with whether or not they could, they didn’t stop to think if they should pic.twitter.com/FP7L6TriFB
— Bobby Lewis (@revrrlewis) October 31, 2018
As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.
The banana’s dominance and ubiquity has had serious and far-reaching implications for the region, engendering exploitative labor systems, climate change, and migration.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
Charles Dellheim’s study tells the tale of a small group of Jewish art dealers and collectors who played a key role in the changing art world of the 19th and 20th centuries.
The 18-month fellowship aims to provide artists with “as much access as possible” to the club’s facilities and networks “at a time and place convenient to artists.”
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
A coalition of investors raised funds to purchase the film’s storyboard and announced they would “make the book public.”
A new project, “Emoji to Scale,” orders every mini-object by their real-world dimensions.
Although Khedoori does not depict living beings, their presence is evoked in the traces they leave behind.
The Bronx Museum’s fifth biennial continues to focus its programming on individual identity, eliding the ever-divergent interests of the art market and local communities.
While it may be strange to think of food insecurity as a basis for art, the works in Food Justice reveal barriers and injustices in food access.