Archive for January, 2011

Policing The Sacred – College Art Association Panel – Wednesday, February 9th, 12:30-2 PM

January 31, 2011

Policing The Sacred, organized by the National Coalition Against Censorship, looks at the volatile relationship between art, politics and religion.In recent decades the tensions between these issues have become intense, evident in the American culture wars of the 90s, the Danish cartoon uproar, and ongoing battles over artistic depictions of religious figures, including the recent removal of a David Wojnarowicz video from a show at the National Portrait Gallery.

The panel, open to the public, takes place on Wednesday, February 9th, from 12:30-2 PM, at Sutton Parlor Center, 2nd Floor, Hilton New York. Location here. For a full listing of College Art Association 2011 events, find it here.

Controversies arising from allegedly blasphemous, sacrilegious or disrespectful artworks materialize from the particularities of the interplay of belief, art and power within specific cultures. Yet, while certain representations of religious imagery become flashpoints for outrage, others, apparently similar, do not.

The panel session explores:

  • In what ways do these conflicts between art and religion serve as staging grounds for questions about the authority of religious institutions, the interpretation of religious doctrine   and the role of religion within the state?
  • What motivates artists to take on these incendiary issues, especially in contexts where the consequences may include censorship, ostracism or even arrest and imprisonment?
  • How do media reportage, cultural differences and political gamesmanship play into the emergence of art/religion controversies?

The panel is composed of scholars who have immersed themselves in this subject, along with several artists whose work has recently become embroiled in firestorms over art and religion.

Artist and educator Richard Kamler’s installation of intertwined pages from the Koran, and the Torah incited controversy in New Haven last year.

Bulgarian video artist Boryana Rossa will speak on behalf of her husband, Oleg Mavromatti, who is currently wanted by Russian authorities for “inciting religious hatred” through a performance in which he had himself crucified.

Iranian artists and filmmakers Shirin Neshat and Shoja Azari recently completed Women without Men, a film that evokes the religious, social and political tensions surrounding the 1953 coup that brought the Shah to power.

Svetlana Mintcheva is Director of Programs for the National Coalition Against Censorship.

The panel will be moderated by Eleanor Heartney, author of Postmodern Heretics: The Catholic Imagination in Contemporary Art.

US Government, Sponsor of Book Censorship

January 24, 2011

NCAC occasionally publishes guest blogs on topics related to free speech. The views in these articles do not necessarily reflect the official position of NCAC, however they raise important issues for discussion.

By Vel Nirtist

How do you keep the unwashed masses known as the “public” from highly prestigious and quite remunerative pursuit known as “public debate” which rightly belongs to the “elite”?

By denying the unwashed the right to exercise their free speech rights.

The Library of Congress catalogs upcoming books in centralized manner, assigning them keywords so libraries and bookstores can order titles in their areas of interest. A book not in the catalog will be invisible, not ordered, not placed on the shelf, not discovered by a reader — dead on arrival.

Only books from bigger publishers are eligible. You don’t have right connections? Too bad: books from smaller publishers, or from the authors themselves, are ineligible.

End result? Thousands of books are de facto censored out of the mainstream marketplace of ideas.

Library’s excuse? Limited funds, to be allocated to books by established publishers only.

Hogwash. The Library is charging $45 for copyright registration, so it could charge $130 for book cataloging. But it deliberately keeps its cataloging free, turning it into a “benefit” dispensed at will – and, in the noble spirit of crony capitalism, dispensing it to the bigger publishers.

And if you assume that self-published books are just inferior, you may want to know that classics like Poor Richard, Huck Finn, Alice in the Wonderland, The Tale of Peter Rabbit, and Leaves of Grass were all self-published.

Surprisingly, first legal challenge to this system came only in 2005 (Overview Books v. US) — both on the property and free speech grounds. The property aspect is obvious — the author is inherently the copyright owner, so all tools of publishing, cataloging included, are naturally his. That this key tool is instead given to a third party with no inherent rights is patiently absurd.

As speech by its very nature involves two parties — the speaker and the audience, abridgment of audience automatically results in abridgment of speech. Yet the result of the Library’s cataloguing restrictions is to limit self-published books’ audience — contrary to the First Amendment which forbids the government from engaging in abridgment of speech.

So far, no success, but plaintiffs will appeal.

Bottom line — there is more to censorship in America than explicitly suppressing certain words and ideas. “Viewpoint-based” censorship is the tip of the iceberg. Hidden underwater is insidious, systemic, government-sponsored censorship aimed at keeping the public at arm’s length from the public debate.

America prides itself on being a meritocracy — but meritocracy implies a level playing field. America’s marketplace of ideas is anything but.

“Vel Nirtist” is pen name of a plaintiff in Overview Books v. US

http://www.nationalportraitgallery.us/

January 21, 2011

ARTINFO reports:

After outraging the art world, several of its funders, and a giant chunk of its constituency with its fatal decision to remove David Wojnarowicz’s “Fire in My Belly” from the National Portrait Gallery’s “Hide/Seek” show, the Smithsonian has chosen to respond to its critics in a dramatic, and rather odd, fashion: instead of returning the work to the exhibition, the institution has turned the National Portrait Gallery’s Web site into an all-Wojnarowicz-all-the-time resource center, complete with a “special online-only screening” of the original 13-minute long version of “Fire in My Belly.”

Odd, indeed, in light of the Smithsonian’s only vaguely apologetic official position on the incident. In fact, the http://www.nationalportraitgallery.us/ website is a hoax. NPG’s real website can be found at http://www.npg.si.edu/ and contains precious little under the search term “Wojnarowicz”: namely a rather lame attempt to justify the censorship. The hoax website, though professionally done – and succeeding to fool many a visitor – presents widely available information about Wojnarowicz and the censorship incident. We would love to hear your opinions on this attempt at culture jamming!

Wilson Play Will Go On!

January 20, 2011

Overruling a decision by the schools’ superintendent, the Waterbury, Conn Board of Education allowed a high-school production of August Wilson’s play,  Joe Turner’s Come and Gone, to go on. Superintendent David L. Snead had opposed the production, saying that the school and educators should not be staging a play that might encourage use of the word “nigger.” The play will open in February and will be framed by pre-show discussions and post-performance talkbacks putting it in a historical context.

The incident comes soon after a similar controversy regarding a play based on Harper Lee’s novel, To Kill a Mockingbird: a Florida high school canceled a high school production of the play, but the decision was subsequently reversed. As we said in that case:

The reason “nigger” is a word that carries such painful weight, of course, is due to a history of racism, to which books like To Kill a Mockingbird testify. That history is evoked every time the word is used, even today. But history will not be erased even if we delete the word from every play, novel or historical document about racism.

A play like To Kill a Mockingbird will help a younger generation understand the brutalities of racism and the hatred that accumulates in words. Indeed, we cringe at the use of the “n-word” today – as well we should – precisely because we are aware of its history and of the degradation and tragedy racism has caused. “Protecting” children from history will only keep them ignorant.

We have come a long way since the events described in To Kill a Mockingbird thanks to an open and often heated debate on civil rights issues, a debate made possible by our national commitment to the free circulation of ideas. It’s a lesson that we forget at our peril.

Similarly, Joe Turner is a play about African-American history: The play was inspired by the blues song “Joe Turner’s Come and Gone,” recorded by legendary blues artist W. C. Handy and first sung by many estranged black women who had lost their husbands, fathers, and sons to Joe Turner—a plantation owner who illegally enslaved blacks in the early twentieth century.  Set in a Pittsburgh boardinghouse in 1911, the play examines African Americans’ search for cultural identity following the repression of American slavery. For Herald Loomis, this search involves the physical migration from the South to Pittsburgh in an attempt to find his wife. Herald’s search for his identity, represented as his song, is unsuccessful until he has embraced the pain of both his own past and the past of his ancestors and moved on to self-sufficiency. This is a lesson somehow missed by those who want to overcome the pain of history by erasing it.

 

Waterbury CT School District Attempts to Cancel August Wilson Play

January 18, 2011

Censorship continues full front attacks on all the arts.

Two weeks into 2011, we’ve already seen censorship of David Wojnarowicz at the National Portrait Gallery; a new edition of Mark Twain’s Huckelberry Finn hit the bookstores, without the N-word; the arrest of Belarus theater director Nikolai Khalezin of Belarus Free Theatre and now the Waterbury Connecticut school district is attempting to cancel a high school production of August Wilson’s play Joe Turner.

As reported in the New York Times, David Snead, Schools Superintendent of Waterbury, CT wants to close down the production of the play because of the use of the N-word. “The use of the N-word is something all civil rights leaders around the country want us to stop using,” said Mr. Snead.

Ms. Elizabeth McGrath, the principal of the Waterbury Arts Magnet School, is still moving ahead with the play, which won critical acclaim when it first ran on Broadway in 1988 and revived in 2009. It is considered among Wilson’s best plays. McGrath made sure to contact the appropriate channels to get approval for the play.

The director of the play, Nina A. Smith, has prepared a study guide to ensure that the students performing in the play understand the context of the use of language and has also organized post-performance talkbacks between the performers and the audience to discuss the work.

Stay tuned as we follow developments, today we expect the Waterbury School Board to make a final decision.

New Museum Opens – Museum of Censored Art

January 12, 2011

On Thursday, January 13th, a new museum opens in Washington, DC: The Museum of Censored Art, founded by art and free speech activists Mike Blasenstein and Michael Dax Iacovone.

Mike and Mike are the iPad protesters, who were expelled from the National Portrait Gallery when they attempted to show David Wojnarowicz’s video Fire In My Belly in the galleries of the exhibition Hide/Seek. This is the video that the Smithsonian Institution removed under pressure from the Catholic League and Representatives Boehner and Cantor.

Well, now, the Free Speech Duo is back and not only are they continuing to show the video, but they’ve even built a museum to house it and placed it in front of the National Portrait Gallery in a container!

The Museum of Censored Art will show the video and other educational materials relating to this censorship case.

The museum’s hours are the same as the National Portrait Gallery: 11:30 AM – 7:00 PM every day through February 13, 2011.

For more information or to make a donation, see: http://dontcensor.us/

Responding to Censorship

January 10, 2011

The removal of David Wojnarowicz’s video from the National Portrait Gallery last month renews conservative groups’ attacks on the arts. Clearly, it’s timed with the ascension of the Republican majority in the House and attempts to formulate a strategy for eliminating voices and ideas they find troubling.

It’s remarkable how unoriginal and inflexible their thinking and approach has become, using the same arguments they crafted 20 years ago. If someone fell asleep in the 90s and were suddenly to awaken now, this Republican world would look very similar to them, right down to the casting of artist Wojanorawicz as a pariah.

It’s worth noting that such strategies are being aggressively responded to. The artist’s gallery PPOW and 100s of art institutions, such as the New Museum, Transormer, ICP and others, have been showing the removed video in their galleries.

Activists and activist groups like Art+ are mobilizing. The Andy Warhol Foundation, who funded the Hide/Seek exhibition, and The Robert Mapplethorpe Foundation have written to the Smithsonian directors voicing their displeasure and cut their funding. The Hide/Seek curators have also been vociferous and quite public in condemning the Smithsonian’s action.

Lenders to the exhibition are asking for their work to be returned from the exhibit. What follows is an exchange between Jim Hedges, who lent a work by Jack Pierson and Martin Sullivan, Director of the National Portrait Gallery.

Jim Hedges wrote to Martin Sullivan, requesting that his loaned work Untitled, Self-Portrait by Jack Pierson be removed from the Hide/Seek exhibition “until such time as the David Wojnarowicz video is reinstated in its full unedited version.”

This is Mr. Sullivan’s response:

Dear Jim,

I apologize for not responding sooner. As you’re aware, the controversy over the Smithsonian’s removal of “Fire in My Belly” ignited a national storm of protest, and the activists on the other fringe have been similarly persistent with Congress and with us, even through the holidays.At the National Portrait Gallery, we sympathize with your objection. Co-curators David Ward and Jonathan Katz have publicly stated their opposition to the removal of the video, and the show continues to attract record crowds while bringing attention to a crucial theme that other museums have not yet highlighted.

Secretary Wayne Clough and the Smithsonian Regents committed to keeping the exhibition up for its full run without further censorship, and we appreciate their firm stand on that question. New private funding has supported a series of enhancements to the website for “Hide/Seek” so we can extend its audience further. The curators have appeared at several public forums, including the December program at the New York Public Library, which is already available on-line, and further such events are in the works.

Jonathan Katz argues that those who would be most punished if additional works are withdrawn from the exhibit are neither the fringe political/religious activists nor even the Smithsonian, but the audiences who lose access to art. In his words, ‘Why fight censorship with more censorship? Shouldn’t we press for real debate and dialogue instead?”

For this reason, I hope you’ll reconsider the withdrawal of Jack Pierson’s “Untitled, Self-Portrait.” The exhibition continues only until February 13, and truly it is reaching hundreds of thousands of visitors. The comment cards are often very touching – disagreement about the Wojnarowicz removal, but delight at seeing the scope and power of the show.

We’re very grateful for your generous loan and for your encouragement of the project, Jim. I will call to explore whether we might be able to reach a middle ground.

Best regards,
Marty Sullivan

Institutions always attempt to recast themselves when they censor. If it’s not the idea or the work, then it’s the effect the work has on a select community, or the specious argument that a lender’s request to remove their own work in response to censorship is, itself, a form of censorship.

This is the time when we need to reexamine and reassess the response to this kind of censorship.

We need to move the debate.

NewSouth Books Publishes Mark Twain (Expurgated)

January 6, 2011

NewSouth Books, based in Alabama, is publishing a new edition of The Adventures of Tom Sawyer and Huckleberry Finn by Mark Twain. As many know, Mr. Twain has been very much in the news lately. His Autobiography is a current bestseller (NYTimes bestseller list for 10 weeks now) and is earning well-deserved praise.

Regrettably, now we must add another reason Mr. Twain is in the news. NewSouth Books plans to publish its version of Huckleberry Finn substituting the words “slave” and “Indian” for what he actually wrote. See NYTimes “Publisher Tinkers With Twain.” Twain knew well what censorship means, saying that only the dead can “speak their honest minds…” in his essay “The Privilege of the Grave.”

Given that the new year has dawned with an avalanche of censorship – from the Smithsonian’s removal of David Wojnarowicz’s video, to the Museum of Contemporary Art in Los Angeles’ whitewash of an artwork which they commissioned by renowned street artist Blu, to now an expurgated version of Huck Finn, we think that it’s worth rereading Twain’s essay, originally published  in the New Yorker.

The Privlege of the Grave
Its occupant has one privilege which is not exercised by any living person: free speech. The living man is not really without this privilege – strictly speaking – but as he possesses it merely as an empty formality, and knows better than to make use of it, it cannot be seriously regarded as an actual possession. As an active privilege, it ranks with the privilege of committing murder: we may exercise it if we are willing to take the consequences. Murder is forbidden both in form and in fact; free speech is granted in form but forbidden in fact.

By the common estimate both are crimes, and are held in deep odium by all civilized peoples. Murder is sometimes punished, free speech always – when committed. Which is seldom. There are not fewer than five thousand murders to one (unpopular) free utterance. There is justification for this reluctance to utter unpopular opinions: the cost of utterance is too heavy; it can ruin a man in his business, it can lose him his friends, it can subject him to public insult and abuse, it can ostracize his unoffending family, and make his house a despised and unvisited solitude. An unpopular opinion concerning politics or religion lies concealed in the breast of every man; in many cases not only one sample, but several. The more intelligent the man, the larger the freightage of this kind of opinions he carries, and keeps to himself. There is not one individual – including the reader and myself – who is not the possessor of dear and cherished unpopular convictions which common wisdom forbids him to utter. Sometimes we suppress an opinion for reasons that are a credit to us, not a discredit, but oftenest we suppress an unpopular opinion because we cannot afford the bitter cost of putting it forth. None of us likes to be hated, none of us likes to be shunned.

A natural result of these conditions is, that we consciously or unconsciously pay more attention to tuning our opinions to our neighbor’s pitch and preserving his approval than we do to examining the opinions searchingly and seeing to it that they are right and sound. This custom naturally produces another result: public opinion being born and reared on this plan, it is not opinion at all, it is merely policy; there is no reflection back of it, no principle, and it is entitled to no respect.

When an entirely new and untried political project is sprung upon the people, they are startled, anxious, timid, and for a time they are mute, reserved, non-committal. The great majority of them are not studying the new doctrine and making up their minds about it, they are waiting to see which is going to be the popular side. In the beginning of the anti-slavery agitation three-quarters of a century ago, in the North, it found no sympathy there. Press, pulpit and nearly everybody blew cold upon it. This was from timidity, the fear of speaking out and becoming obnoxious, not from approval of slavery or lack of pity for the slave; for all nations like the State of Virginia and myself are not exceptions to this rule; we joined the Confederate cause not because we wanted to, for we did not, but we wanted to be in the swim. It is plainly a law of nature, and we obeyed it.

It is desire to be in the swim that makes successful political parties. There is no higher motive involved – with the majority – unless membership in a party because one’s father was a member of it is one. The average citizen is not a student of party doctrines, and quite right: neither he nor I would ever be able to understand them. If you should ask him to explain – in intelligible detail – why he preferred one of the coin-standards to the other, his attempt to do it would be disgraceful. The same with the tariff. The same with any other large political doctrine; for all large political doctrines are rich in difficult problems – problems that are quite above the average citizen’s reach. And that is not strange, since they are also above the reach of the ablest minds in the country; after all the fuss and all the talk, not one of those doctrines has been conclusively proven to be the right one and the best.

When a man has joined a party, he is likely to stay in it. If he changes his opinion – his feeling, I mean, his sentiment – he is likely to stay, anyway; his friends are of that party, and he will keep his altered sentiment to himself, and talk the privately discarded one. On those terms he can exercise his American privilege of free speech, but not on any others. These unfortunates are in both parties, but in what proportions we cannot guess. Therefore we never know which party was really in the majority at an election.

Free speech is the privilege of the dead, the monopoly of the dead. They can speak their honest minds without offending. We have charity for what the dead say. We may disapprove of what they say, but we do not insult them, we do not revile them, as knowing they cannot now defend themselves. If they should speak, what revelations there would be! For it would be found that in matters of opinion no departed person was exactly what he had passed for in life; that out of fear, or out of calculated wisdom, or out of reluctance to wound friends, he had long kept to himself certain views not suspected by his little world, and had carried them unuttered to the grave. And then the living would be brought by this to a poignant and reproachful realization of the fact that they, too, were tarred by that same brush. They would realize, deep down, that they, and whole nations along with them, are not really what they seem to be – and never can be.

Now there is hardly one of us but would dearly like to reveal these secrets of ours; we know we cannot do it in life, then why not do it from the grave, and have the satisfaction of it? Why not put those things into our diaries, instead of so discreetly leaving them out? Why not put them in, and leave the diaries behind, for our friends to read? Or free speech is a desirable thing. I felt it in London, five years ago, when Boer sympathizers – respectable men, taxpayers, good citizens, and as much entitled to their opinions as were any other citizens – were mobbed at their meetings, and their speakers maltreated and driven from the platform by other citizens who differed from them in opinion. I have felt it in America when we have mobbed meetings and battered the speakers. And most particularly I feel it every week or two when I want to print something that a fine discretion tells me I mustn’t. Sometimes my feelings are so hot that I have to take to the pen and pour them out on paper to keep them from setting me afire inside; then all that ink and labor are wasted, because I can’t print the result. I have just finished an article of this kind, and it satisfies me entirely. It does my weather-beaten soul good to read it, and admire the trouble it would make for me and the family. I will leave it behind, and utter it from the grave. There is free speech there, and no harm to the family.


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