Posted inArt

Political Pressure Censors Artwork And Creates Unexpected Spectacle

I feel naïve to have thought that art offered one of the only scared spaces to be freely expressive. Two weeks ago, I wrote a post that attempted to diplomatically depict the controversial saga that has unfolded over artist Brett Murray’s “The Spear”, a Communist propaganda style portrayal of South African president Jacob Zuma with his penis hanging out from his zipper.

Posted inNews

Smithsonian Censor Wins Muzzle Award

The Thomas Jefferson Center for the Protection of Free Expression has given out one of its annual “Jefferson Muzzle” awards to Smithsonian Secretary G. Wayne Clough for his removal of David Wojnarowicz’s “A Fire in My Belly” video and censoring of Hide/Seek at the National Portrait Gallery. That’s one trophy we assume won’t be going on display in his home.

Posted inNews

Jan 31 Protest Will Confront Smithsonian Board Meeting

The Smithsonian’s Board of Regents, the highest administrative body of the organization, will be meeting on Monday January 31st with Smithsonian Secretary G. Wayne Clough to discuss his decision to censor David Wojnarowicz’s “A Fire in My Belly” from the National Portrait Gallery’s Hide/Seek exhibition. An anti-censorship protest will be held at 1 PM outside the Smithsonian’s headquarters.

Posted inArt

What Has Hide/Seek Lost? A Review

On November 30, 1994, choreographer Bill T. Jones’s experimental dance piece “Still/Here” opened at the Brooklyn Academy of Music. The work featured live dancers performing in front of video footage of terminally ill people discussing their sicknesses. Nearly a month later, dance critic Arlene Croce blasted the piece in a now-infamous essay in the New Yorker. Announcing that she had never seen “Still/Here” and had no intention of doing so, Croce wrote, “By working dying people into his act, Jones is putting himself beyond the reach of criticism. I think of him as literally undiscussable.” She went on to classify that category of undiscussability as “those dancers I’m forced to feel sorry for because of the way they present themselves: as dissed blacks, abused women, or disenfranchised homosexuals—as performers, in short, who make out of victimhood victim art.” In many ways, the National Portrait Gallery’s current, controversial, and excellent special exhibition Hide/Seek feels like a resounding rebuttal of Croce’s thesis.

Posted inOpinion

Five Non-NYC Shows Coming Up in 2011

Odds are, you’re probably doing some traveling in 2011. If you’ve got places to go, we’ve got art for you to check out. From Gerhard Richter’s retrospective at the Tate to an exhibition of Gertrude Stein’s personal collection in San Francisco, here are five exhibitions outside of New York to look for in the next year. Better start planning that business trip now!

Posted inArt

Towards Transparency and Justice, Learning from Wikileaks and Wojnarowicz

What do Wikileaks and the art world’s response to the censorship of David Wojnarowicz’s “A Fire in My Belly” by the Smithsonian have in common? Both make public what elites want to keep secret. They illustrate how little, if anything, can be hidden anymore and demonstrate how the more something is concealed the more the demand for it to be revealed grows.

What the complex and seemingly unrelated stories of Wikileaks and the censorship of “A Fire in My Belly” at the National Portrait Gallery’s Hide/Seek: Difference and Desire in American Portraiture highlights is how insiders, or those with insider access, can use their privilege to unsettle the status quo when it isn’t working anymore.