The Hypocrisy of Our Times: Political Rhetoric fuels opinions against Political Rhetoric and Gives Strength to Censorship

The Hypocrisy of Our Times: Political Rhetoric fuels opinions against Political Rhetoric and Gives Strength to Censorship

I try my best to stay out of politics-- sometimes it can be very hard to do… Especially when art writers that I know tap into stories that spark national outcry in order to twist the story in a manner that promotes their own political views. That said, the recent tragedy in Arizona has revealed the hypocrisy that is crippling our nation as a whole. What could be used as common ground to discuss the importance of supporting mental health, community, and personal responsibility is instead being used to point fingers of political blame.

Art Museums: Compromise is the Key to Public Support for Art

Art Museums: Compromise is the Key to Public Support for Art

Towards the end of 2010 situations involving the motivation behind specific works of art and arguments over art museum exhibit content were at the forefront of many online debates within the circle of artists and art writers that I frequent. Debate concerning these issues are common throughout the year-- sparked by one controversy or the other. However, the end of 2010 brought with it an ignited powder-keg of hardcore debate. One could say that the year in art went out with a bang. That said, it is my hope that the dialogue continues-- specifically, the conversation about what should be expected from public funded art museums and other public funded art spaces.

Should the Director of LA MOCA, Jeffrey Deitch, resign or be fired?

An anonymous street artist supports Blu while challenging the authority of Jeffrey Deitch

Should the Director of LA MOCA, Jeffrey Deitch, resign or be fired?

There has been a steady flow of debate concerning Jeffrey Deitch’s decision to whitewash a mural outside of LA MOCA. The commissioned mural was destroyed before being finished due to concerns that it would cause public outrage. Deitch felt the theme of the mural would be considered insensitive since the location was near a Veterans Affairs hospital and a war memorial to Japanese-American soldiers. However, no complaints were made to warrant consideration of the murals destruction-- apparently Deitch was taking a preemptive strike to ward of controversy. Deitch has stated that his decision was a “curatorial choice” and should not be confused with an act of censorship. Needless to say, many-- especially in the street artist community-- disagree with Deitch on this issue.

Opposing Views: Who Determines Art Exhibit Content? by Kimberly Reed-Deemer

Opposing Views: Who Determines Art Exhibit Content? by Kimberly Reed-Deemer

I’ve decided to start a blog series that focuses on opposing views-- the target… My views. For the debut of this series I offered artist Kimberly Reed-Deemer the chance to discuss her thoughts concerning my views on the issue of public funded art.

Kimberly Reed-Deemer is a New Mexico artist with a background in fine art, paleoanthropology, scientific illustration, and museum design and construction. Kimberly takes issue with some of the opinions I expressed in the following articles:

Brian Sherwin: Art writer to be feared? Thoughts on public funded art exhibits…
http://briansherwin-artcritic.blogspot.com/2010/12/brian-sherwin-art-writer-to-be-feared.html

Brian Sherwin on Art, Politics, and Censorship
http://briansherwin-artcritic.blogspot.com/2010/12/brian-sherwin-on-art-politics-and.html

Kimberly Reed-Deemer’s guest blog article is an insightful read-- I hope that you enjoy it as I have.

Who Determines Art Exhibit Content? by Kimberly Reed-Deemer

I share Brian Sherwin’s view that publicly funded art museums and exhibit spaces should represent a cross section of perspectives, but I arrive at this conclusion along a path slightly different from Brian’s. Being an unabashed political and social liberal, I have an obligation to address issues of justice when I encounter them, which is one of the reasons why I support opening publicly funded museum exhibits to include a diversity of viewpoints and perspectives, even those views I vehemently oppose. This doesn’t mean I attribute a blind equivalence to all perspectives, however. On the contrary, not all perspectives are of equal merit, and this is precisely why they must be examined in the open light of public discourse, and especially in comparison to competing views where rigorous analysis will identify and discredit flawed perspectives.

Brian Sherwin: Art writer to be feared? Thoughts on public funded art exhibits…

Brian Sherwin: Art writer to be feared? Thoughts on public funded art exhibits…

It has come to my attention that certain individuals within the professional mainstream art world are wary of my opinions concerning the state of the art world today-- mainly my suggestion that public funded art exhibit spaces should have to explore a number of opposing social and political themes in order to continue receiving public funding. I'm not going to make a name-dropping game out of this-- these people know who they are and how to reach me if they want to pursue a direct debate on the issue. That said, I do wish to explore the matter and defend my opinion.

My suggestion is very liberal at heart-- in that I think the public would be best served by being introduced to a number of viewpoints in a visual manner based on common themes from both sides of the social and political fence as reflected in the core of national debates on key issues. To me that is balance-- and I fail to see why anyone who truly supports art would oppose my position unless their own social and political view comes before art in general and are already being served by the state of public funded art exhibits today.

Art World Prejudice: Sex, Race, Age…

Art World Prejudice: Sex, Race, Age…

In the recent past it was not uncommon to see only two solo shows by artists who happened to be female for every dozen solo shows to open in New York. Women exploring painting as the focus of their artwork stood even less of a chance of receiving a solo show compared to men. I doubt the situation has changed that much over the years. It troubles me that in the mainstream art world-- often noted for being liberal in thought-- such clear prejudice based on gender continues to dominate. This veiled prejudice fosters the idea that art is a man’s game-- and shoves that mode of thought into the psyche of the viewing public.

This form of prejudice based on gender within the art world can be observed in mainstream gallery artist rosters, magazine and blog lists of the art worlds “most powerful”, and in the media as a whole. It leaves one asking why in 2010 artists who happen to be female often are stamped as ‘female artist’, ’female painter’, and other gender-specific descriptions that are never used when describing male artists. It is almost as if the people who describe artists who happen to be female in this way are giving them a pat on the back for their attempts. It is insulting.