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frankterranella · 2 years

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Our refugee policy needs major revamping

On December 16, 1620, a group of refugees from England arrived in Plymouth, Massachusetts. They had faced prosecution and imprisonment in their homeland because of their stand against mandatory membership in the Church of England. The Puritans aimed for a return to the more no frills style of early Christians. They also objected to the idea of a state religion, but instead wanted a separation of church and state.

So a group of these persecuted Christians decided to seek a better life in the New World. They loaded their possessions aboard a ship called the Mayflower and headed west. Today we commonly refer to these travelers as Pilgrims. The native Americans who met them when they landed in Plymouth did not put them in detention camps or order their boat to return to England. They did not subject these refugees to a quota system. Instead, they welcomed the newcomers, gave them food and taught them how to grow their own crops.

I contrast that with the way the country that arose from those first Pilgrims handles refugees today.

A refugee is defined in the law as a person with a well-founded fear of persecution in their home country. In fiscal year 2022, we have set a limit of just 125,000 such refugees from around the world, doled out in a quota system that sets regional limits. So not only do you have to qualify as a refugee, where you come from is crucial in determining whether you get in or not.

Despite the official U.S. acknowledgement that people coming from many Latin American countries such as El Salvador, Guatemala and Honduras are legitimately refugees, the quota this year for all of Latin America and the Caribbean is just 15,000 out of the total 125,000. So the United States is effectively saying to our closest neighbors that we acknowledge they are in need of asylum, but they will have to look elsewhere.

Last week the new Ken Burns documentary, The U.S.and the Holocaust, explored how hundreds of thousands of European Jews, facing death in their home countries, were unceremoniously denied refuge here between 1935 and 1945. Among these was the family of Anne Frank. It seems we have learned nothing in the succeeding 75 years. In a country of more than 350 million, we apparently have room for only 125,000 more people this year (and only 15,000 from our neighbors to the south). This is patently absurd.

America was built on refugee immigration starting with the Pilgrims at Plymouth. They founded a place where people could escape government-imposed persecution. Yet the sons and daughters of immigrants continually attempt to shut the door behind them. This is cruel enough when the immigration is for economic reasons. However, when the immigration is a matter of life and death, closing the door is just monstrous.

Seeing the Burns documentary prompted me to revisit the 1993 film, Schindler’s List. It’s a masterpiece of filmmaking and among the best films ever produced by Hollywood. It tells the true story of a man who provided refuge in his factory for hundreds of Jews in the midst of Nazi Germany. Despite all attempts by the Nazis to exterminate his workers, Schindler prevailed. But at the end of it all, Schindler regrets not saving more.

Likewise, while the United States is to be commended for accepting 125,000 refugees this year (up from just 18,000 in 2020), is that paltry sum the best we can do? Will we regret all the many more modern pilgrims we could have saved in this perilous time worldwide? Do we want those deaths on our national conscience?

A promise we made to the world nearly 120 years ago is enshrined in New York harbor. The Statue of Liberty makes a national commitment to “the wretched refuse of your teeming shore.” Lady Liberty proclaims “Send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door.”

Let’s keep that door wide open.

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fruehrotschein · 3 years

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Simon Vouet: Ritratto di giovane donna (1620-1)

"This young lady ... is ... likely to be the painter Virginia Del Vezzo, or Vezzi, whom Vouet married in 1621. The portrait revisits and updates the canons of Venetian 16th century painting, looking to the work of Paolo Veronese for the softness of the figure and the sumptuous nature of her fabrics and lace."

Quote & image source: Brera Pinacoteca

#Simon Vouet #painting #art #portrait

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captainclickycat · 3 years

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Recollections

My entry for the GO Secret Santa exchange, for

@teslatherat. Hope you like it :)

oOo

“You can stay at my place, if you like.”

So now here they are. Aziraphale hovers awkwardly in the doorway, taking in his surroundings, every inch the uncertain guest.

Crowley bustles about. He’s never hitherto been in the habit of bustling, but Aziraphale’s presence seems to have brought the inclination out in him. He stalks about the flat, jittery, plumping up the cushions and moving his Golden Girls DVDs off the coffee table.

That’s when he notices the letters, stacked on top of each other. One sealed with a crest of golden wings, the other smelling of sulfur, sealed with a blob of black sludge. No doubt as to the identity of the senders, and Crowley can guess at the contents.

He ignores them, for the time being. There’ll be time enough to look at them.

“Sit down,” he says, gesturing towards the sofa. “If you want. I can get us another drink.”

Aziraphale sits almost daintily, clasping his hands together. Crowley bustles off to the kitchen, selecting a bottle of the whisky he’s been unconsciously saving for a visit. Angel’s Nectar. Aziraphale smiles weakly at the label.

They sit beside each other in silence, clutching their tumblers.

Aziraphale speaks, haltingly. “I believe I’d like to rescind my previous claim.”

“Hmm? What’s that?”

“It appears there is an our side, even if I was too silly to see it before.”

“Oh, don’t worry your head about all that. I’ve forgotten it already,” lies Crowley.

Angels and demons have good memories. It’s all part and parcel of the deal. Sometimes it’s an advantage. Being able to remember the way Aziraphale looked at him when he’d fixed things with Hamlet, for example, or the borderline-carnal pleasure on the angel’s face when he ate tres leche for the first time. Crowley collected little moments like this, snapshots in time, the way people collect stamps or butterflies. The conversations, too. The banter about each other’s outfits, the drunken philosophical discussions that went on into the wee small hours, the critiques of plays. He catalogues the appreciative accounts of different foods, the fussy comebacks to Crowley’s snark, the customer-related grievances.

On the downside, he can also remember things like we’re not friends and it’s over and you go too fast for me. He could also remember Jesus’s crucifixion in rather distressing detail, and the Crusades, and that time he had to spend an entire evening in the company of Dr Samuel Johnson, who inexplicably considered him an appropriate sounding board for every opinion he’d ever had.

“I do so wish I’d embraced you from the beginning,” says Aziraphale, swiftly bringing Crowley back to the present. “Er. that is to say, embraced our… alliance.”

Could’ve done both, if you’d wanted, Crowley doesn’t say. What he does say is:

“Doesn’t matter now. Who knows what they’d have done? Anyway, we managed to have some fun together, didn’t we? Over the centuries? Sampled a few dishes, that sort of thing.”

“Oh,” Aziraphale sighs in reminiscence. “Do you remember that little place in Paris, with the crepe cake? That was divine.”

“Still can’t believe you ran off to France in the middle of a revolution for dessert.”

Aziraphale clicks his tongue. “Never going to let that slide, are you? Quite turned my head, though, you putting in an appearance to save me like that. Tell me, how long did that hair take to style, exactly?”

“It was fashionable! Least I wasn’t running around dressed as an aristocrat.”

“I believe you enjoyed it, you know. Being able to swoop in and save the day. Being kind.”

“Fighting talk, that is. Anyway, someone’s got to get you out of trouble.”

“Strong words from the one who lost the antichrist.”

“I didn’t - it wasn’t - the nuns, if anything…” Crowley splutters. Aziraphale is giving him a discreet smirk. It’s nice, he supposes, that at least one of them can laugh about it now.

That soon trails off, though, when they remember the predicament they’re in.

Crowley finally turns his attention towards the letters. There’s no mistaking the contents. You have been summoned on trial. Attend, or we’ll just come and get you. Dressed up in fancier terms, naturally, but that’s the gist of it. Undoubtedly their former employers don’t intend to send them off with a slap on the wrist. Crowley tries not to dwell on the prospect too much.

One look at Aziraphale confirms that he’s thinking the same thing. Cautiously, Crowley lays a hand on top of Aziraphale’s, and finds it gripped tightly.

“It does occur to me,” says Aziraphale, “That we were always, perhaps, in the best position to understand each other, in a lot of ways.”

“Hmm?”

“I mean, in terms of… well. The experiences we’ve had, never quite fitting in with our head offices. But we found each other. I think that’s terribly important. I never would have had the courage to sever ties, I think, without you by my side.”

Aziraphale stares into his tumbler as he continues, swirling the liquid around. “But there’s something else you must understand. It’s not just because of that. I know that it’d be easy to latch on to the first individual I met who I felt I could identify with. But I do believe I very much came to like you for your sake. Even though you’re very silly and rather rude and have the most abysmal taste in fashion, you’re also funny and generous and really rather sweet, underneath it all. Now, please don’t be silly and argue. I know it.”

“Er.” I love you more than my bloody car. “Er. Yeah. You too. For yourself, and all that.”

Aziraphale nods, swallowing hard, and doesn’t let go of Crowley’s hand. “I loved our little meetings. I believe I’d have been driven quite round the bend, without them.”

They spend some time reminiscing. It’s a warm and welcome distraction from their eventual fate. There something oddly comforting about the way they can claim these memories now. The tangible reminders that they had managed, in small ways, to be a little defiant, for the sake of whatever hazily-defined but cherished relationship they had.

They’re laughing about a particular night in the pub during Shakespeare’s day when Aziraphale’s expression shifts to contemplation.

“Crowley, do you remember that conversation in… oh, must have been in the 1620s or thereabouts? We went to see Much Ado About Nothing…”

“Oh, yeah. That lead guy was awful. Far too hammy.”

“Anyway, my point is, you made a bit of a proposition that day, do you remember?”

Crowley does, although he’s not sure why he’s being called upon to remember it now.

Standing around at the Globe on a bracingly cold day. He’d lost the beard by then - feeling that it wasn’t really him - but he’s still bothered to style his hair according to the fashion of the times. He always liked to make a little extra commitment, when he knew he’d be seeing the angel.

“Hey,” he said, nudging Aziraphale during a scene in which the plot came to rely heavily on mistaken identity. “We should do that.”

“Do what?”

“Pretend to be each other, for Head Office meetings. We’ve already got the Arrangement, eh? Couldn’t hurt to go the extra mile.”

“Certainly not,” Aziraphale said primly. “It’s bad enough that you’ve got me involved in this little scheme of yours. I’m not tripping around in your silly flashy outfits to add insult to injury.”

Crowley pouted. “You’re no fun.”

“Yeah,” says Crowley now. “What about it?”

“Well, now,” says Aziraphale. “Do let me know if you think I’m being silly, but I think the idea might actually be worth revisiting.”

oOo

“Is it as you remembered it?” Aziraphale asks.

It’s Crowley’s first time back behind the Bentley’s wheel, after they’ve succeeded in pulling the wool over their respective former employers’ eyes. He still can’t quite believe they got away with it.

“Yeah. You were right, angel. Not a scratch on it. Even got that new car smell back.”

“Good.” Aziraphale is fidgeting in the passenger seat. “That’s just lovely. Glad to hear it. Ah.”

“You all right, angel?”

“Oh yes, yes, perfectly… I simply… well. We were talking about… about old conversations, the other day, and it got me remembering another… something I’ve meant to resolve for some time, I suppose.”

Crowley shoots him an enquiring look, and Aziraphale takes a deep, steadying breath.

“You made me an offer once. Here, in the car. A few decades ago; must have been… oh, 1967? Do you remember?”

Crowley nods, his hands tightening on the steering wheel.

“Ask me again.”

Crowley turns to stare at him. Aziraphale is sitting there quite guilelessly, only the restless movements of his hands betraying the idea that he might not be as calm as he lets on.

“I’ll give you a lift,” Crowley says softly. “Anywhere you want to go.”

Aziraphale smiles.

“Oh, gosh,” he says. “Rather spoilt for choice, now, aren’t we? Perhaps we could, I don’t know, nip back to Paris for a while. Take a fortnight in the countryside. But do you know, I think at the moment, what I’d like most of all is to come back to your flat.”

Aziraphale flashes him a brisk smile, looking for all the world as if he hasn’t just made such a huge, life-changing revelation. “If you’re amenable to that, of course.”

“Really?”

“Mmm. I think, perhaps, we have rather a lot of lost time to compensate for. Wouldn’t you agree?”

Crowley nods slowly, before unbuckling his seatbelt to lean over and cradle Aziraphale’s face in his hand.

A demon kisses an angel in the front seat of a vintage Bentley, and suddenly that particular conversation doesn’t seem like quite such a bad memory after all.

#apologies that this ended up being a bit of a rush job #things got... weird over xmas #GoodOmenssecretsanta

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lostprofile · 4 years

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ICONOGRAPHY III: The Dance to the Music of Time

Giulio Rospigliosi began his career as professor of theology and canon law at the University of Pisa. From 1632-36, he served as the Referendary of the Apostolic Signatura and Secretary of the Sacred Congregation of Rites under Urban VIII . An accomplished poet and dramatist, Rospigliosi composed the libretto for Virgilio Mazzochi’s comic opera, L’Egisto, o Chi Soffre, Speri. This Neoplatonic allegory based on a novella by Boccaccio had its debut performance at the Palazzo Barberini 1637, and was published with revisions in 1639. Rospigliosi went on to serve as papal nuncio in Spain, was raised to the cardinalate and from 1667-69 reigned as Pope Clement IX.

While occupied with the development and production of the opera, Rospigliosi commissioned a large cabinet painting by Nicolas Poussin. In his biography of Poussin, Gian Pietro Bellori refers to the painting as Il Ballo della Vita Umana. Known since 1913 as the Dance to the Music of Time, it represents four people dancing in a circle outdoors as winged figure plays a lyre. Bellori categorizes the picture as a morale poesia, or one of a small group of classicizing pictures by Poussin in which “le favole esposte riferiremo alcuni concetto morali espressi in pittura.” Bellori also identifies the author of its iconographic program: “Il soggetto di questa morale poesia fu data al pittore da Papa Clemente IX.” Rospigliosi, it seems, reprised his role as librettist, composing a learned text intended to impose a discursive meaning on a non-discursive medium.*

That discursive meaning is clearly allegorical. According to Bellori, the four female figures represent the seasons and the revolving fortunes of human life. Beginning with the impovished, barefoot figure of Autumn who faces away from the viewer, the dancers become richer as the seasons progress, culminating in the voluptuous and sumptuously-dressed and bejeweled figure of Summer, who makes eye contact with the viewer. This cyclical movement is rhythmically ordered by the music played by Time. A putto equipped with an hour glass and another blowing soap bubbles (a standard emblemof the transience of life, provide the moral dimension to the allegory. Finally, the appearance of Aurora, Apollo and figures representing the Hours and the zodiac serve as the cosmic context of the concetto.

Unlike the published libretto for L’Egisto, Rospigliosi’s iconographic program is known only through Poussin’s painting. How much and which parts of it were dictated by Rospigliosi and what parts Poussin was left free to invent is unclear. The general theme expressed through allegory was probably the invention of the patron. The landscape setting and warm afternoon lighting are purely Poussin’s. Details of costume were probably devised by the painter. Poussin excelled at the representation of choreography—the dance depicted in the Adoration of the Golden Calf (1633/37) strongly resembles the that of the Ballo—so the circular footwork, which complements the general theme, might have been his decision. (It should be noted that Malcolm Bull dismisses Bellori's account to argue that Poussin devised the allegory of the seasons and Rospigliosi devised the wealth and fortune allegory after the picture was completed.)

Poussin evidently found the concetto worthy of further development. Bellori mentions that after fulfilling the commission, Poussin painted two pictures, the iconographies of which extend Rospigliosi’s theme. The first, referred to by Bellori as La Verità Scoperta dal Tempo, elaborates on the active role of Time. For the second, entitled La Felicità Soggetto alla Morte, Poussin revisits the fable of the Arcadian Shepherds stumbling across a tomb, which he had painted in the 1620s.

Panofsky argues that Rospigliosi had devised the theme and the cryptic inscription on the tomb for Guercino's Arcadian Shepherds, and that Bellori's claim that Poussin continued the theme of the Ballo meant that Rospigliosi requested and Poussin painted an updated version of the Et in Arcadia Ego concetto. It would s equally plausible that having previously painted the subject, Poussin may very well have chosen it himself.

Whatever the exact circumstances were, Poussin’s response to the theme of the Ballo is unambiguous. Just as he purged the subject of the rushing movement and drama of discovery of Guercino's and his own earlier versions, he replaced the pounding rhythms and motion of the Ballo with silence, stasis, and contemplation. Emblematic of this revision is the displacement of the ephemeral, circular dance, laden with life-affirming symbolism, by a huge, rectilinear, immovable stone monument.

Gianpietro Bellori, Le vite de' pittori, scultori et architetti moderni (Rome, 1672).

Malcolm Bull, The Mirror of the Gods (Oxford, 2005).

Louis Marin, “Toward a Theory of Reading in the Visual Arts: Poussin’s The Arcadian Shepherds,” The Reader in the Text: Essays on Audience and Interpretation (Princeton, 1980).

Erwin Panofsky, "Et in Arcadia Ego: Poussin and the Elegaic Tradition" Meaning in the Visual Arts (New York, 1955).

#nicolas poussin #french painting - 17thc.#giulio rospigliosi #clement ix #guercino #allegory

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ofgraveconcern · 3 years

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With the Watch City Steampunk Festival planned trip to the Moon, on May 8th, (see the website at www.watchcityfestival.com) this week's Thursday Tales will revisit the historical dream of space travel, and life on other planets, from 1609 - 1840. Our tale begins on the night of the 26th July 1609, where English astronomer, mathematician, and ethnographer, Thomas Harriot made the first map of the moon, followed by Galileo’s map four months later, and Italian astronomer Geminiano Montanari 1662 map. At this same time in the late 1620’s, English bishop Francis Godwin, writing under the pseudonym of Domingo Gonsales, wrote what is considered as the first science fiction novel ‘The Man in the Moone’. The story describes Gonsales’ twelve day journey to the moon, using a flying machine tethered to a species of powerful swans he calls the gansa. On the surface he encounters the Lunars, inhabiting a utopian paradise. Widening planetary speculation, on the 13th August 1642, Dutch mathematician, physicist, astronomer and inventor Christiaan Huygens discovered the Martian south polar cap. One of the key figures in the Scientific revolution, Huygens was instrumental in the study of optics, mechanics, and improving the design of the telescope; which he used to discover the Martian south polar cap, and the rings of Saturn and its moon Titan. These discoveries led him to speculate on the existence of life on other planets. In his work ‘Cosmotheoros’ first published in 1698, three years after his death, Huygens speculated that his observations of dark and bright spots on the surfaces of Mars and Jupiter, (More in the comments). #watchcitysteampunkfestival #steampunkstyle #steampunkart #historyofastronomy #williamherschel #strangehistory #weirdhistory #themaninthemoon #scientificrevolution #lifeonmars #scientificart #scientificillustration #naturalhistoryillustration #naturalhistoryart #vintageastronomy #astronomyart #victoriangothic #historyofscience #greatmoonhoax #lifeonthemoon #edgarallenpoeart #edgarallenpoe #astronomy #steampunkillustration #victoriangothicstyle #historylesson #historyfacts #historicalstories #historicalstory #gothicliterature https://www.instagram.com/p/COiZu4iHAKU/?igshid=8g8iuamfp7qm

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chloerd · 4 years

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20/10/2020

Inside Museums: Artemesia Gentileschi Exhibition at the National Gallery in London.

Brendan mentioned the BBC Arts Documentaries in this week’s lecture, so I watched the one he recommended to us. Due to COVID-19, exhibitions have not been open to the public like before. BBC have brought out a small series Inside Museums. They have made one on Artemesia Gentileschi who is currently on display at the National Gallery in London.

Artemesia Gentileschi was a baroque painter, she is said to be one of the most accomplished artists of the seventeenth century. The documentary guides us through the tour as if we are inside the gallery, the rooms are filled with Artemesia’s beautifully made paintings and transcripts in her own writing, the curator said they wanted the audience to view the exhibition through the artists eyes and own words. Due to the artist being a woman at a time where everything was male dominated, it was difficult for her to become as successful as it would a male artist. Because of this, she had been forgotten throughout art history, left out of well-established historical books.

The presenter speaks of how her artwork portrays grand narratives of female heroism, depicting brutal murder scenes to sensitive moments of solitude.

Gentileschi, A. (1615-17). Self Portrait as Saint Catherine of Alexandria. Oil on Canvas.

The above painting was only discovered in 2017. The director of the gallery wanted the painting to travel to the people, rather than people travel to the painting. They wanted people who wouldn’t generally visit an art gallery or museum to view the painting in the flesh. Places such as: a women’s library, GP practices, girls’ school, and women’s prison. It was interesting to see the director chose all places specialised to women and girls, as if showing the artist as a representation of what women can achieve and become. No matter the limitations that try and prevent this.

In the documentary, Artemesia is described as relatable, captivating, and how well people respond to her paintings. She was trained by her father, well-established artist Orazio Gentileschi. Artemesia brings feminine sensibility to subjects that deal with psychological power and feminism. She finds a way to tell the truth through her artwork. She was questioned about the sexual assault she endured, she told them to torture her so they would know she was telling the truth. “E vero, e vero, e vero” was written on the trial transcript, “It is true, it is true, it is true”.

“Female strength, femininity, sheer determination, feminine sensibility, brilliant storytelling.” Artemesia had a fiery spirit; which the presenter says you can feel when reading her own writing. Her work still feels radical in todays day and age, she has psychological intensity which you feel when viewing any of her artworks. She became the first woman to gain membership to the Artists’ Academy in Florence in its 50-year history. This gained her friendship with contemporary artists, intellectuals, poets, etc.

This exhibition portrays her through her own work and words, it shows her vulnerability, her whit, her fiery attitude, the injustice she endured, the determination she had to be considered on par with other male artists.

Gentileschi, A. (1620-25). Mary Magdalene in Ecstasy. Oil on Canvas.

In the 1620s, it was the heigh of her career. Her work depicts violence, death, nudity, and euphoria. Her own perspective on biblical and historical themes. In the painting above, it captures communion with God – displaying the artist resting, and bathing in a warm glowing light, at peace with her beliefs and the God. The paintings in the exhibition show the female protagonists as they take centre stage. They are theatrical, she revisits themes again and again and yet gives us something different each time.

In the 1970s, her work was exhibited with all “forgotten female artists”

Gentileschi, A. (1623-25). Judith and Her Maidservant With The Head of Holofernes. Oil on Canvas.

Judy Chicago offered Artemesia Gentileschi a place at her Dinner Party. This was how her work was introduced to an activist audience, her transcript came to life therefore activists saw her as a proto-feminist icon. Activists who were challenging institutions that excluded women and were fighting for rape to be recognised as a violent act.

Chicago, J. (1974-79). The Dinner Party. Ceramic, porcelain, textile.

For the last 20 years of her life, she began painting in a different style - on a bigger scale, produced art for a public space, and did collaborative work.

At the end of the documentary, it shows both Artemesia and Orazio Gentileschi’s paintings side by side. She was taught everything she knew about techniques and skills from her father, depicting the same biblical story they painted side-by-side shows how fundamentally different their aims were. Both are beautiful, skilfully painted theatrical paintings but Artemesia shows emotions and drama within her work. Orazio was all about the technique.

#context

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delhi-architect2 · 4 years

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ArchDaily - 'Shofuso and Modernism' Revisits a Major Mid-Century East-West Cultural Exchange

Woodworking and traditional Japanese craftmanship are front and center at 'Shofuso and Modernism'. Image © Constance Mensh

In June 1954, an article published in House & Home magazine read, “The Japanese had some of our best ideas—300 years ago.” The piece highlighted three main attributes of Kyoto’s Katsura Imperial Villa, built in the 1620s: the open post-and-beam plan, the use of verandas for climate control, and its modularity based on tatami mats and shoji screens.

from ArchDaily https://www.archdaily.com/949720/shofuso-and-modernism-revisits-a-major-mid-century-east-west-cultural-exchange Originally published on ARCHDAILY RSS Feed: https://www.archdaily.com/

#ArchDaily #architect #architecture #architects #architectural #design #designer #designers #building #buildin

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whatlaurasreading · 4 years

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More Than “A World Of Imagination And Vision”

Marginalia is enjoying something of a moment at Oxford, as witnessed by the New Yorker’s recent feature on the Oxford University Marginalia group, founded by sometime Oxonian contributor April Pierce. It is no surprise, then, that some of the most rewarding aspects of the Ashmolean’s latest special exhibit, William Blake: Apprentice & Master, guest curated by Blake scholar Michael Phillips from the University of York, are several of the artist’s own comments, handwritten in the margins of influential books of the period: Blake’s own copy of The Works of Joshua Reynolds (3 vols., 1798, on loan from the British Library) and two of Blake’s copies of Emanuel Swedenborg’s The Wisdom of Angels Concerning The Divine Providence (1788 edition, on loan from the British Library, and the 1790 edition, on loan from the Cambridge University Library).

Nebuchadnezzar, c. 1795-1805

Blake’s marginalia allows visitors to see Blake’s mind at work, inspired by, and in reaction to, his contemporaries as he developed his ideas as an artist, poet, philosopher, and political animal. Notably, in his notes on Reynolds, on the title page of the first volume, he writes, “This man was Hired to Depress Art [.] This is the opinion of Will Blake[. M]y Proofs of this Opinion are given in the following Notes[.]” Later in the volume, Blake records his first reading of Edmund Burke’s A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757) as well as his encounters with the polymath Francis Bacon and the philosopher John Locke. Indeed, one can see Blake’s reaction to Bacon’s emphasis on observation in his scientific method as developed in the Novum Organum (1620), and Locke’s argument for tabula rasa in his Essay Concerning Human Understanding (1690), in lines like:

How do you know but ev’ry Bird that cuts the airy way, Is an immense world of delight, clos’d by your senses five?

(Plate 7, ‘Memorable Fancy,’ The Marriage of Heaven and Hell)

and

If the doors of perception were cleansed every thing would appear to man as it is, infinite. For man has closed himself up, till he sees all things thro’ narrow chinks of his cavern

(Plate 14, ‘A Memorable Fancy,’ The Marriage of Heaven and Hell)

and of Burke’s understanding of the sublime in the “fearful symmetry” of ‘The Tyger’.

What these instances of marginalia also show is that the exhibition is very much a collaborative one. Most of the works it features are from the Bodleian Library, but there are many on generous loan from the Fitzwilliam Museum and University Library in Cambridge, from the British Library and British Museum, from Tate Britain and the V&A, from the Hunterian Art Gallery and Glasgow University Library, from the Philadelphia Museum of Art and a number of private lenders “who wish to remain anonymous”. Phillips worked for two years gathering material for the exhibition—work funded by the National Endowment for the Humanities and the British Academy. If anything, this shows the importance of cooperative work and funding to such an immense and detailed exhibition. It also shows that Blake is demonstrably an international treasure.

For many people, however, Blake remains the poet of ‘Jerusalem’ from the ‘Preface’ to his Milton: A Poem (1808), adapted as a hymn by Sir Hubert Parry and adopted by the Suffragettes more than a century later; the creator of beloved children’s poems ‘The Lamb’ and ‘The Tyger’ from Songs of Innocence and of Experience (1789); or the man behind anarchic expressions such as the “mind-forg’d manacles” from ‘London’. However, during his lifetime, as this exhibition takes pains to present, Blake was also a successful engraver, a radically innovative print-maker, and a singularly influential artist. His father, James Blake, regarded him as a genius from a very young age and, were it not for the sheer amount of extant evidence, one might not believe that Blake was really the son of an encouraging and supportive hosier. The exhibition details Blake’s early life, with special attention to his father’s forethought and patronage: he gave Blake an allowance to buy prints and engravings so that he might learn from the Old Masters; he paid for Blake’s apprenticeship to James Basire so that he might have the practical skills of an engraver should he wish to become an artist later in life. At the end of the first room of the exhibition there are two excellent examples of Blake’s mid-career commission work. The first—a proof and print of Blake’s engraving (1788, 1790) after William Hogarth’s scenes from The Beggar’s Opera—shows how he develops his preference for the strong outline of forms rather than simply reproducing the chiaroscuro effect of Hogarth’s paintings as the etching progresses. The effect is that some of the nuance is lost, but more emphasis is gained. The second, the Head of a Damned Soul (also known as Satan) after William Fuseli (c. 1789-90), is an especially fine example of Blake’s dot and lozenge work, and demonstrates the grotesqueness of the human form.

Head of a Damned Soul, c. 1789-90

Both those new to and conversant with Blake’s art will be interested in the second room in the exhibition, which is dedicated to the artist’s innovation in printing and displays a vast array of materials that catalogue his developing technique. Beginning in the late 1780s, he began to experiment with a new manner of printing that combined etching with painting.

Using stop-out varnish, he would draw on his already-etched plates so as to produce colour prints—themselves a rarity in the Eighteenth Century—of the same engraving that were similar yet individualised. This method he described as “Illuminated Printing”. During this period of experimentation, Blake was incredibly productive as a poet-printmaker, for by 1793 he had produced many of his most influential works, as detailed in his prospectus “To the Public” issued in that same year: America, a Prophecy, Visions of the Daughters of Albion, The Book of Thel, The Marriage of Heaven and Hell, Songs of Innocence and of Experience. As Blake’s techniques evolved, his use of colours and washes became more painterly and he became more interested in the surface texture of the print, discernible in the series of plates from Europe a Prophecy. The Large Colour Prints of 1795, especially Nebuchadnezzar (c. 1795-1805) and the three triptych-like versions of The House of Death/The Lazar House (c. 1795), are striking illustrations of Blake’s dedication to his artistic project. “Quite simply”, as Phillips asserts in his lavishly comprehensive exhibition catalogue, “and working alone, Blake had invented the most extraordinary innovation in this history of printmaking and painting.” This invention—the monotype—would go on to influence Edgar Degas and, more notably, Pablo Picasso.

The final room of the exhibition is split between Blake’s later works and those of his disciples, also known as the Ancients: Samuel Palmer, George Richmond, and Edward Calvert. The later Blake comprises some of the most spectacular but often overlooked pieces of Blake’s oeuvre, such as the epic Chaucer’s Canterbury Pilgrims (1810), the plates from Jerusalem (1804-1821) and the Illustrations form the Book of Job (1826), the Illustrations to the Divine Comedy (1824-7), and his woodblock prints for Thornton’s The Pastorals of Virgil (1821/c.1830). It is also illustrative of his continuing struggle for artistic integrity, with a tension between the need for commissioned work and his desire to communicate his vision in the work he undertook. What is striking about these later pieces is not only their scale but also Blake’s return to the myths and stories that inspired him to create his own, at a time when Romantic poets like Wordsworth and Coleridge were turning away from—or like Shelley, Byron, and Keats, were reinterpreting—their relationship with the classical.

However, though the scope of the exhibition allows for a certain consideration of Blake’s nachtleben, few beyond those with a particular interest in Blake’s influence as an artist will find much of value in considering the works of the Ancients. This is not because their work lacks merit or is inherently uninteresting, but because of the place in which they fall in the structure of the exhibition: their engravings and paintings take on a penumbral quality, like an afterimage or a vestige of one of Blake’s preceding images. Richmond’s Abel and the Shepherd (1825), for instance, not only revisits a subject already approached by Blake but is actually the product of Blake’s own hand—he helped Richmond shape the form of the body in the preparatory sketch for the painting. This is the difficulty with Blake, for he is invariably superior to, and more saturate than, those who succeed him.

Still, the underwhelming final stage of the exhibition does little to detract from the impressiveness of its scale and detail. And while it is designed to reward a patient, attentive, and repeat visitor, there is much to delight and engage those with only a passing interest in, or a novice knowledge of, Blake or printmaking.

[Reprinted with permission from the Oxonian Review.]

#william blake #art history #museum

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infamisparrhesiastes · 6 years

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insideanairport · 4 years

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Linda Tuhiwai Smith’s “Decolonizing Methodologies: Research and Indigenous Peoples”

❍❍❍

As a first-generation migrant living between the Western walls of the academy and white walls of the gallery, it is vital for us to understand historical facts and stories from an indigenous perspective which prioritizes indigenous self-determination. As a Middle Eastern artist working in the West, reading this book is essential. There is an intersection between different decolonial methodologies. Previously, I have been introduced to Harsha Walia’s work on Border Imperialism which is written in the context of North America. There are also a lot of differences between the notions of decoloniality based on geography and community. Understanding these differences can help us work toward a mutual goal. According to Aníbal Quijano, decoloniality is a response to the relation of direct, political, social and cultural domination established by Europeans. The decolonizing approach might slightly vary from the vantage point of multiple perspectives, for example; (1) indigenous peoples (2) first-world racialized minorities (3) People in third-world post-colonial or neo-colonial societies. If we don’t consider the literature, lived-experince, and epistemology from all different positionalities, our decolonial methodology might be a bit one-sided or narrow, especially when our center is in the West.

In the secularized Christian West, racism (with its tentacle stereotypes) operates in many different ways while targeting the natives (indigenous peoples) compared to other people of color. This process has been intensified in the post-Trump-election era of far-right and reactionary nationalism in the West. We are living in the midst of environmental challenges around the world specifically in South America where indigenous activists are taking a stand against the neo-colonial regimes and Western interventions. While white Swedish student Greta Thunberg is getting all the media attention as the forefront of the global fight against climate change, numerous indigenous activist such as Paulo Paulino Guajajara (Lobo) and Edwin Chota have been brutally murdered simply for defending the environment and their way of life. On the sideline of Euro centered media publicity on Thunberg, there are many other indigenous activists who have been fighting the real fight and risking their lives for generations.

Linda Tuhiwai Smith’s decolonial methodology is centered around the politics of sovereignty and self-determination for indigenous peoples. She mentions that for indigenous peoples it is important to resist “being thrown in” with every other minority group by making claims based on prior rights.

Walter Mignolo included this book in his graduate seminar. For Mignolo, it is always revealing to see in the discussion who is feeling empowered by the book and who is feeling threatened and bothered. (1) Writers such as Ngũgĩ wa Thiong'o, Edward Said, Fanon, Trinh T. Minh-ha, and Foucault have shaped Smith’s theoretical approach to research. Roxanne Dunbar-Ortiz and Glen Sean Coulthard are among other researchers and activists who have been influenced by this iconic book.

Similar to other postcolonial writers, Smith’s work is also preoccupied with the question of knowledge (epistemology) and power. Her Maori perspective makes these questions much more complicated and challenging. She reminds us that indigenous peoples have been, in many ways, ”oppressed by theory”. The scientific (or pseudoscientific) research of the colonizers puts them in a peculiar position in relation to the indigenous peoples. The anthropological studies conducted on indigenous peoples have been not only contradictory to their cultural knowledge, but it has also been quite violent. The Western research methods and their long-term damages are still fresh in indigenous peoples’ consciousness. Therefore, Western notions of ”writing history” and conducting scientific research have been very much against the indigenous livelihood and knowledge. She writes on the notion of history and modernity:

”It is because of this relationship with power that we have been excluded, marginalized and ‘Othered’. In this sense history is not important for indigenous peoples because a thousand accounts of the ‘truth’ will not alter the ‘fact’ that indigenous peoples are still marginal and do not possess the power to transform history into justice.”

She continues by asking;

”Why then has revisiting history been a significant part of decolonization?’ The answer, I suggest, lies in the intersection of indigenous approaches to the past, of the modernist history project itself and of the resistance strategies which have been employed. Our colonial experience traps us in the project of modernity. There can be no ‘postmodern’ for us until we have settled some business of the modern. This does not mean that we do not understand or employ multiple discourses, or act in incredibly contradictory ways, or exercise power ourselves in multiple ways. It means that there is unfinished business, that we are still being colonized (and know it), and that we are still searching for justice.

Critique of Western History

Even today, 20 years after the publication of the book, we see the same issues in the literature and research conducted “on” indigenous culture, history and peoples. For example, you can read any random article or essay on colonialization and find the difference in tone and positionality. Take, for example, “smallpox” as a biological weapon during the indigenous genocide in North America. When we read the History Chanel, the usually white writer’s position towards this issue is easily detectable compared with indigenous activists or researchers writing on the same topic. (2) The outsider researcher is arguing about the effectiveness of government programs in fighting the natives during the 18th Century. The insider researcher, for example, Roxanne Dunbar-Ortiz and her book: An Indigenous Peoples' History of the United States is choosing to talk about the first occurrence of smallpox in 1620 by the English trade ships. A simple comparison between these two modes of historiography and research can help us a lot to understand the decolonizing methodology. Dunbar-Ortiz gives us a context in which a huge amount of native lives was lost due to English trading ships off the coast to the Pequot. King James attributed the epidemic to God’s “great goodness and bounty toward us.”

“In each place, after figures such as Columbus and Cook had long departed, there came a vast array of military personnel, imperial administrators, priests, explorers, missionaries, colonial officials, artists, entrepreneurs and settlers, who cut a devastating swathe, and left a permanent wound, on the societies and communities who occupied the lands named and claimed under imperialism .”

The critique of Western history argues that history is a modernist project which has developed alongside imperial beliefs about the Other. Implicit in the notion of development is the notion of progress. This assumes that societies move forward in stages of development much as an infant grows into a fully developed adult human being. The earliest phase of human development is regarded as primitive, simple and emotional. As societies develop they become less primitive, more civilized, more rational, and their social structures become more complex and bureaucratic.

In a recently published series of essays edited by Jo-Ann Archibald Q’um Q’um Xiiem, “Decolonizing Research: Indigenous Storywork As Methodology”, the editors have collected insider research focusing on what Archibald called Indigenous Storywork. (3) The term highlight multiple ways in which indigenous peoples using storytelling as a method of documenting generational events, form of teaching and learning, and as an expression of indigenous culture and identity. (4)

Enlightenment: Racist Progress at The Expense of The Colonized

Indigenous knowledge didn't consider as 'real knowledge' by colonizers. This struggle continues today both inside the academy as well as in real life outside the walls of the institution. If you are one of those students in liberal universities in the West, you are probably familiar with at least one of liberal positives (progressive) theories of the enlightenment project. Take for example the neo-colonial liberal theories of Steven Pinker. Aside from the recent news about Pinker’s involvement with Jeffrey Epstein even after his sex trafficking conviction, Pinker has been an advocate of Western scientific progress and return to concepts such as human nature and enlightenment. (5) In his recent book, Enlightenment Now: The Case for Reason, Science, Humanism, and Progress, we can basically replace the word Human with Westerners or white men in order to be accurate. His binary theories completely dismiss the fact that European progress was based on the genocide, slavery, and suffering of millions of colonial subjects, which to a lesser degree still continues today. For many indigenous peoples today, the word “research” basically means “being a problem”.

Literacy, as one example, was used as a criterion for assessing the development of a society and its progress to a stage where history can be said to begin. Even places such as India, China and Japan, however, which were very literate cultures prior to their ‘discovery’ by the West, were invoked through other categories which defined them as uncivilized. Their literacy, in other words, did not count as a record of legitimate knowledge.

We are all familiar with the Western origin of Humanism, manifest destiny, age of reason and doctrine of discovery. There is a direct connection between these concepts and the simultaneous exploitation of the people and the production of concepts such as racism, nation-state, and the Orient. Both Christianity and Western science played a vital role in this framework and indigenous peoples were left with either extermination or assimilation. (6) The Europeans privatized the land that indigenous peoples once owned. The colonization was accompanied with ideological drive to paint the commoners who resisted as violent, stupid and lazy. (7)

"Underlying these categories is the rigidly binomial opposition of “ours” and “theirs,” with the former always encroaching upon the latter (even to the point of making “theirs” exclusively a function of “ours”). This opposition was reinforced not only by anthropology, linguistics, and history but also, of course, by the Darwinian theses on survival and natural selection, and—no less decisive—by the rhetoric of high cultural humanism. What gave writers like Renan and Arnold the right to generalities about race was the official character of their formed cultural literacy. “Our” values were (let us say) liberal, humane, correct; they were supported by the tradition of belles-lettres, informed scholarship, rational inquiry; as Europeans (and white men) “we” shared in them every time their virtues were extolled.” -Edward Said - Orientalism

Western-Centered ‘Collaborative Research’

We did not practice the ‘arts’ of civilization. By lacking such virtues, we disqualified ourselves, not just from civilization but from humanity itself.

What researchers may call methodology, for example, Maori researchers in New Zealand call Kaupapa Maori research or Maori-centred research. This form of naming is about bringing to the centre and privileging indigenous values, attitudes and practices rather than disguising them within Westernized labels such as ‘collaborative research’.

Smith often mentions that writing research is more important than writing theory. Research produces results that are more immediate and useful for farmers, economists, industries and sick people. (1) From Kant to Badiou, white theoreticians have been utilizing Western anthropological material as fuel for their theories. There is a lot of fancy vocabulary that generates things such as “collaborative research”, or “research with the aim of reconciliation”. In reality, these methodologies are NOT beneficial for the indigenous peoples. However, they continue to be used because they are well-known and they generate a lot of scholarship and capital for white state-ideal subjects.

At the same time research historically has not been neutral in its objectification of the Other. Smith reminds us that from indigenous perspective objectivation of research is also a process of dehumanization. She identifies the contributions of second-wave feminism more beneficial to the indigenous cause compared to the Marxist methodologies introduced in the first half of the twentieth century. The reason for this distinction is the challenges that feminism has introduced to the presumably neutral position of Western philosophy, academic practice and research.

Decolonize This Place

Rather than see ourselves as existing in the margins as minorities, resistance initiatives have assumed that Aotearoa, New Zealand is ‘our place’, all of it, and that there is little difference, except in the mind, between, for example, a Te Kohanga Reo where Maori are the majority but the state is there, and a university, where Maori are the minority and the state is there.

The latter part of the book tracks the transition from Maori as the ”researched” to Maori as the ”researcher”. Smith acknowledges that the academic institutions’ eco-system is toxic for non-white folks. Crystal Fraser, a Gwichyà Gwich'in Ph.D. student at the University of Alberta, among many other indigenous peoples agrees. Fraser, belives that Western Academic institutions are not made for indigenous peoples and there are numerous barriers on the way. Regarding research, Smith uses the term ”insider” research to highlight the work conducted by indigenous community members who are part of the culture and understand the aim of the research as self-determination. Similar to Said, she is skeptical about the role of Western ”experts” especially in relation to imperialism and power relations.

While indigenous voices have been silenced for many decades by Western researchers, the role of the insider researcher is very important. Addressing the indigenous communities, Smith writes that many of the issues in indigenous communities are in fact internalized stress factors that are not voiced. Therefore, insider research must be ethical, respectful and reflexive. It also needs to be humble, because the researcher belongs to the same community but with a different set of roles, relationships, status, and position.

On a more personal note, I want to briefly review the state-funded higher education that I received in the United States and Finland. They are both white-majority countries, yet they might seem far apart in every sense. In both of my art schools, there was an obvious gap in terms of understanding of indigenous subjects and worldviews, as well as an absence of curriculum on postcolonial topics. There were no Indigenous students, staff, and teachers at either school which I study for over 6 years.

There are many contemporary examples that show the intersectionality of migrant struggle with the indigenous struggle over self-determination and sovereignty. A perfect example of this solidarity is the Numerus Haka dances in honor of the victims of the white-terror attacks in Christchurch.

youtube

Bib.

1. Smith, Linda Tuhiwai. Decolonizing Methodologies Research and Indigenous Peoples (Second Edition). London: Zed Books, 2012. 2. Kiger, Patrick J. Did Colonists Give Infected Blankets to Native Americans as Biological Warfare? history. [Online] 11 15, 2018. https://www.history.com/news/colonists-native-americans-smallpox-blankets?fbclid=IwAR3AdkyYDlMmLOt2YYU_VBIUaIqZINNx4HIatBoHIxQd1C9T5DWouj8CBN0. 3. Archibald, Jo-Ann, Jenny Bol Jun, Lee-Morgan and Jason, de Santolo. Decolonizing Research: Indigenous Storywork as Methodology. s.l. : Zed Books, 2019. 4. Archibald, Jo-Ann. Indigenous Storywork: Educating the Heart, Mind, Body, and Spirit. s.l. : UBC Press, 2007. 5. Flaherty, Colleen. Pinker, Epstein, Soldier, Spy. insidehighered. [Online] July 17, 2019. https://www.insidehighered.com/news/2019/07/17/steven-pinkers-aid-jeffrey-epsteins-legal-defense-renews-criticism-increasingly. 6. CAMACHO, DANIEL JOSÉ. UNLEARNING THE DOCTRINE OF DISCOVERY. SOJOURNERS. [Online] 10 8, 2018. https://sojo.net/articles/unlearning-doctrine-discovery?fbclid=IwAR1VIL-7ohHW3MKsIzTB62UPkSyhlqnQe-CLeMf5D0Nev-RUiw8Xez4ewwE. 7. Dunbar-Ortiz, Roxanne. An Indigenous Peoples' History of the United States (ReVisioning American History). s.l. : Beacon Press; Reprint edition, 2015.

______________________

#reading

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blancaswanson97-blog · 6 years

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themuseumwithoutwalls · 6 years

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MWW Artwork of the Day (11/23/17) Osias Beert the Elder (Flemish, c. 1580-1624) Dishes with Oysters, Fruit, and Wine (c. 1620-25) Oil on panel, 52.9 x 73.4 cm. National Gallery, Washington DC

In their successful endeavors to convey a world of abundance and beauty, seventeenth-century painters presented sumptuous tabletop still lifes to delight the viewer's senses. Osias Beert was perhaps the most refined painter of this popular genre. The carefully crafted objects and expensive delicacies depicted by Beert celebrate his Flemish culture in a style that clearly articulates his mastery of textural effects and realistic detail.

The eleven opened oysters arranged upon the pewter plate are striking examples of this realism: their amorphous forms appear to be so liquid that one can almost imagine the oysters' easily slipping from their pearly white shells. Nearby, two exotic shells from distant seas emphasize the exceptional rarity of the foods in the expensive vessels arrayed on the table. Luxurious sweets decorated with gold leaf fill the Wan-li bowl in the foreground, while dried raisins, figs, and almonds overflow two other Ming period bowls. In the center, elegant sweets, including candied cinnamon bark and candied almonds that have been colored yellow, pink, and green, fill a ceramic tazza. Quince paste, which was stored in simple, round wooden boxes, was another delicacy enjoyed at special festivities. Both red and white wine, so appropriate to this feast, are visible through the transparent glass of the elegant Venetian-style vessels made by Flemish craftsmen.

Beert's mastery of illusionism and his carefully arranged compositions were the hallmarks of his style. Once he had established a compositional format with which he was comfortable, he frequently revisited it, subtly modifying the types of foods and their arrangement across the table. Such lavish still lifes are joyous, grand pronouncements of the abundance and beauty of his culture, of which he was undoubtedly proud.

(Source: Arthur K. Wheelock Jr. in the NGA publication, "Art for the Nation," 2000)

For more of this artist's work, see this MWW exhibit/gallery: * Going for Baroque: Flemish Painting in the 17th c.

#osias beert the elder #Dishes with Oysters Fruit and Wine #flemish artist #still life

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garnetipg1456698-blog · 7 years

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