Art / Socioculture

The usual suspects are still censoring art. How sad. NYT’s Frank Rich thought we were moving past a lot of that, but he, and we, are mistaken.

“When (David Wojnarowicz’s) mentor and former lover, the photographer Peter Hujar, fell ill with AIDS in 1987, Wojnarowicz created a video titled “A Fire in My Belly” to express both his grief and his fury. As in (Keith) Haring’s (San Francisco Grace Cathedral) altarpiece, Christ figures in Wojnarowicz’s response to the plague — albeit in a cryptic, 11-second cameo. A crucifix is besieged by ants that evoke frantic souls scurrying in panic as a seemingly impassive God looked on.
“…When a four-minute excerpt from “A Fire in My Belly” was included in an exhibit that opened six weeks ago at the National Portrait Gallery in Washington, it received no attention. That’s hardly a surprise, given the entirety of this very large show — a survey of same-sex themes in American portraiture titled “Hide/Seek.” The works of Wojnarowicz, Hujar and other lesser known figures are surrounded by such lofty (and often unlikely) bedfellows (many gay, some not) as Robert Mapplethorpe, John Singer Sargent, Grant Wood, Thomas Eakins, Georgia O’Keeffe, Andy Warhol, Andrew Wyeth and Haring. It’s an exhibit that would have been unimaginable in a mainstream institution in Wojnarowicz’s lifetime.
“The story might end there — like Haring’s altarpiece, a bittersweet yet uplifting postscript to a time of plague. But it doesn’t because “Fire in My Belly” was removed from the exhibit by the National Portrait Gallery some 10 days ago with the full approval, if not instigation, of its parent institution, the Smithsonian.

“Like many of its antecedents, the war over Wojnarowicz is a completely manufactured piece of theater. What triggered the abrupt uproar was an incendiary Nov. 29 post on a conservative Web site. The post was immediately and opportunistically seized upon by William Donohue, of the so-called Catholic League, a right-wing publicity mill with no official or financial connection to the Catholic Church.
“Donohue is best known for defending Mel Gibson’s anti-Semitism by declaring that “Hollywood is controlled by Jews who hate Christianity in general and Catholicism in particular.” A perennial critic of all news media except Fox, he has also accused The Times of anti-Catholicism because it investigated the church pedophilia scandal. Donohue maintains the church doesn’t have a “pedophilia crisis” but a “homosexual crisis.” Such is the bully that the Smithsonian surrendered to without a fight.
“It took only hours after Donohue’s initial battle cry for the video to be yanked. “The decision wasn’t caving in,” the museum’s director, Martin E. Sullivan, told reporters. Of course it was. The Smithsonian, in its own official statement, rationalized its censorship by saying that Wojnarowicz’s video “generated a strong response from the public.” That’s nonsense. There wasn’t a strong response from the public — there was no response. As the museum’s own publicist told the press, the National Portrait Gallery hadn’t received a single complaint about “A Fire in the Belly” from the exhibit’s opening day, Oct. 30, until a full month later, when a “public” that hadn’t seen the exhibit was mobilized by Donohue to blast the museum by phone and e-mail.”

http://www.nytimes.com/2010/12/12/opinion/12rich.html?hp

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