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Boris Johnson, Britain’s new prime minister, has been likened in style, character, and appearance to the United States President, Donald Trump. And indeed, the two have more than a few things in common: a background of privilege; a populist message; braggadocious showmanship; propensity to gaffes; and puzzling hair. Just a few days ago, Trump himself referred to Johnson as “Britain Trump” and hailed him as a “really good man.” In response, activists in London welcomed Johnson into his new position the same way they greeted Trump when he visited the country in 2018: they launched a “Boris Blimp.”
The nine-foot inflatable blimp was flown at London’s Parliament Square on Saturday, July 20, during an anti-Brexit march held under the slogan “No to Boris, yes to Europe.” The blimp, directly inspired by the bloated “Baby Trump” balloon, featured a representation of the “Brexit Bus” in which Johnson traveled to campaign for Britain’s departure from the European Union. The bus was emblazoned with a message claiming the £350 million (~$436 million) in funds to the EU could be directed instead to the UK’s National Health Service (NHS). Johnson’s critics claim the figure is false.
Here it comes!…
First there was Trump “Tweeting” Baby.
Now there’s Boris “I make buses” Toddler.
Britain deserves better than to be ruled by the whims of these dangerous children.
— March for Change (@march_change) July 18, 2019
There he is: the Boris toddler blimp flying over Parliament Square complete with dishevelled hair, mismatched running gear and a t-shirt emblazoned with a bus and the figure £350m @LBC pic.twitter.com/IrUMIo3Urq
— Lucy Hough (@lucyhough33) July 20, 2019
In the days before the protest, the group March for Change launched a crowdfunding campaign to fund the creation of the blimp. “We all know Boris Johnson’s infamous promise of £350 million a week for the NHS was just a load of hot air,” the campaign’s page says. “And yet he’s about to float into the most powerful position in the land, based on nothing more than his over-inflated ego.”
Johnson has close and personal relationships with people in the arts. His mother, Charlotte Wahl, is an Expressionist artist who recently had a retrospective at the Mall Galleries in London. Johnson’s first wife, Allegra Mostyn-Owen, who now works as an art teacher in east London, is the daughter of British art historian William Mostyn-Owen. According to the Art Newspaper, three of Johnson’s later relationships have been with women in the arts.
Yet with all his personal ties to art workers, artists in the UK are anxious about Johnson’s rise to power. First to react was Tom Yorke of Radiohead who posted a terse tweet saying “Fuck you ‘prime minister’.” The rapper Stormzy, who recently donned a Banksy-made vest during his performance at Glastonbury, retweeted a clip from his music video “Vossi Bop,” which includes the line, “Fuck the government and fuck Boris.” The British culture magazine MixMag wrote that thanks to Sormzy’s performance, “Fuck Boris” was the “defiant slogan” of the 2019 edition of Glastonbury.
Before floating the blimp, protesters marched through London’s Trafalgar Square and Hyde Park. Earlier today, Johnson confirmed that he appointed Tory Member of Parliament Nigel Adams as a culture minister. Adams is known as a Johnson loyalist and a supporter of Brexit.
Tabitha Arnold’s rugs pay tribute to organizers who lay their bodies on the line in the workplace, in the public square, and in the depths of private prisons.
The intentionality of Booker’s abstraction gives me the impetus to discuss something about the current zeitgeist that’s been on my mind for a while.
The Morgan Library & Museum Presents Another Tradition: Drawings by Black Artists from the American South
This exhibition celebrates the Morgan’s recent acquisition of drawings by Thornton Dial, Nellie Mae Rowe, Henry Speller, Luster Willis, and Purvis Young.
After years in the making, New Time opens at the Berkeley Art Museum and Pacific Film Archive.
The museum details the process of moviemaking, from its inception in storytelling all the way to its marketing. But interwoven into these exhibits are ugly truths.
Part of the John Michael Kohler Arts Center in Sheboygan, Wisconsin, the Art Preserve also functions as a curated collection facility and is filled with immersive installations.
The former panels, removed in 2017, featured images dedicated to Confederate Generals Stonewall Jackson and Robert E. Lee.