Clearing racist beastliness from our art galleries

Multicultural Art gallery Facilities

I felt guilty giving up my £73 a year Art Fund membership, not only does it allow entry to exhibitions at half price, but helps the funding of the arts which are now in trouble. The independent charity raises funds to buy art works for the nation and awards grants to artists.

Many small galleries are now threatened with closure, but then I read through the latest copy of their magazine what they are proudly spending your/my money on; At the Barber Institute of Fine Arts in Birmingham, they’ve given £40,000 for an, ‘Arts, health and wellbeing programme,’ ‘for the needs of the local community.’

If you’ve got a verruca and live outside the area don’t bother going. There’s a ‘host nurse in residence as part of a pioneering scheme to enrich medical education through culture, using multi-disciplinar (sic) professionalism and community engagement.’ No idea what that means and their final epistle to enter my letterbox doesn’t say.

Then we’ve got, ‘A New Work for Studio Voltaire,’ nothing to do with the dead white male philosopher. The ‘Not-for-profit’ centre in Clapham, will reopen in September after a £2.8 million transformation, it’s also funded by the Arts Council, including a permanent work by Joanne Tatham and Tom O’Sullivan, commissioned by the AF. A vibrantly coloured work entitled, ‘The institute for the magical effect of actually giving a shit,’ is composed of ceramic tiles showing surprised cartoon like faces, and will be installed across the venue’s public loos.

The AF is also supporting the ‘Rural Diversity Network,’ to emphasis ‘Black voices in Cornwall.’ It can only be a relief to us all that this work will, ‘feed into the work of all local and national museums across the UK, ensuring representation and informing anti-racist practice.’ As apposed to the ‘racist practice’ which now informs our galleries.

My £73 is also helping, ‘The Queer Heritage and Collections Network which, ‘provides peer support for people in the UK working with LGBTQ+ collections and histories.’ Support for the ‘Alphabet People,’ usually comes with extra plurals.

The society funded a project manager, Dan Vo, as. well as a two-day symposium in January which gave vital advice on how to ‘Co-curate with queer communities and how to interpret queer lives.’

Surely the ‘Queer’ people would be doing the curating themselves? Again that isn’t explained. They are also funding 60 free training sessions on ‘anti-racism in museum recruitment,’ probably meaning art-galleries as well, but American usage seems preferred.

We can also look forward to the British Art Show, organised by London’s Hayward Gallery, which tours the country every five years. In ‘The spirit of inclusiveness,’ its curators, Irene Aristizabal and Hammad Nasar, have ensured that it will be dominated by black and Asian, ‘cultures and music,’ and of course ‘histories,’ plus of course the now obligatory, ‘Modern-day legacies of slavery, and expressions and explorations of gender identity and fluidity.’

Where would we be without them?

Remember how visiting a gallery on a wet afternoon, sometimes with one’s grandparents, was a lulling affair, during which some paintings were pointed out with admiration, while nude statues were regarded as rather outré? When was that ? A hundred, a thousand years ago?

It’s no good being nostalgic. In his recent article, ‘Out with the Old Masters’, cultural historian, Charles Saumarez Smith, CBE, former director of the National Portrait and the National Galleries, insisted that the public, those faceless folk, rarely consulted on anything, ‘Are more stimulated by contemporary art than the art of the past.

The priorities of museums (I think he meant art galleries) are changing towards a much less instructional approach, away from the past towards the present, away from teaching towards experience.’ He writes that this is ‘indisputably true.’ Not sure how he knows that unless he’s carried out an early census, or what that ‘experience’ aims to do within our galleries.

No doubt he and the Art Fund approve the turning of more of them into tourist funfairs like Tate Modern, and it’s pretty certain that they heartily approve the actions of Mwazulu Diyabanza, from Congo, who heads the, ‘Multicultural Front against Pillaging,’ a group dedicated to, pillaging.

Last June, between lockdowns, he entered a museum in Paris and seized a 19th-century African funeral post from Chad, shouting, ‘We’re taking it home!’ wrenching it from the wall.

A month later in Marseille he tried to remove an ivory spear from the Museum of African Art, then he turned up in Holland attempting to snatch a Congolese statue from a museum. He says he, ‘Will be visiting the British Museum once it reopens. It contains nine hundred African pieces that are very symbolic’ Given a good grant by the Art Fund to keep going, he could easily be a front-runner for the next Turner Prize.

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13 Comments on Clearing racist beastliness from our art galleries

  1. There are many non-Whites now using their grievances and resentments arising from their non-Whiteness to extort goodies, of tangible and intangible kinds, from Whites.

    This is endorsed even by most White politicians, most White members of the education industry, most White news/opinion media people, most White members of the law industry, most White civil servants, and most White office-holders in most religious organisations.

    The performance of The Actress Markle is an outstanding current example of this attack on Whites and White Civilisation.

    Ignored, indeed buried by censorship, is that almost no non-Whites could live lives of material abundance and freedoms that they now enjoy without the boons and benefits bestowed upon them by the work of leading Whites over these many centuries.

    Non-contributing Whites should also take note of this factor that enables their idle, parasitic lives.

  2. I’ve been wondering for years why the vandal known as “Banksy” hasn’t been arrested, charged, convicted and sentenced to clean up his defacement of other people’s property. More recently, I’ve wondered why he hasn’t won the Turner Prize. Thanks to your excellent article, I’m now wondering if “Banksy”’s real name is Mwazulu Diyabanza.

    • The “+” stands for behaviour so disgusting that nobody has even thought of it yet, but once it’s been thought of it will instantly be obligatory to approve of it.

      • We already have +I.
        How about +MBL (USA already)?
        How about +BDSM (flaunted on Gay Pride demos)?
        Then: +SWT (save the forests)?
        And: +SWZ (save the farms)?

        • But there will always be a “+” on the end. Whatever sexual practice can possibly be invented, no matter how foul, our lords and masters will make it obligatory to approve of it, because the real issue is not sexuality but power.

  3. We are surrounded by non-Whites, incl academics, sports and entertainment celebs and TV presenters who are utterly ungrateful for the obvious boons and benefits that they enjoy -and can enjoy, only because such boons and benefits have been created by White Europe and its White off-shoots.

    There is precious little in modern life that non-Whites enjoy that was created by non-Whites. And no useful element that makes contemporary material abundance and peaceful civil order feasible was sourced in Black Africa. Add that to the low rates of educability/trainability productivity, and high rates of violence among Blacks, and everything is going to pot.

    Race realism is urgently required. And I have great compassion for those non-Whites, incl Blacks, who actually are nett-contributors to Western society, and are non-violent. I’ve worked with many such folk, and know their pain. NB: I experience no sense of superiority based on my being White. But I believe that continued anti-realism in the West in regard to race will be the cause of much greater destruction of civil peace, property, and lives than we have already seen.

  4. And now “clearing racist beastliness” from the British Monarchy and the British People, with the mainstream media, the woke commentariat and the sob-sisters of a feminised demuckrasy seizing on an opportunity to topple the icing from the already poisoned cake, now that three millionaire show-offs in the USA have “accused” not just an anonymous member of the Royal Family but the Insitution itself of the greatest evil known to personkind.

    So someone wondered if a baby would take after his grandmother or grandfather in looks. How terrible! How unusual! The problem is not so much the discomfort the British native population has experienced from the uninvited presence of incompatible communities in a grievance competition, adding the historical fact that our ancestors were “white” and therefore so also their portraits and statuary, but the deliberate WEAPONISATION of what Diane Abbott calls “BLACKNESS” against the ethnic English in their ancestral homeland. The whip hand? Who are the masters now?

  5. Well, there is a proportion of Blacks who are fine, peaceful, productive, contributing citizens, and who are grateful for all the great boons and benefits that White Europe, and its White off-shoots, have given to them personally and to non-Whites generally, and which non-Whites would never have provided for themselves.

    Meanwhile, it is high time that Whites -women and men- form secret societies with the purpose of helping one another become more self-secure as Whites, more knowledgeable of how the world actually works, more productive, less excessive in their use of recreational drugs (incl alcohol) and spend a bit of time helping younger White men and women make their way towards a flourishing life.

    Of course, this would include encouraging and tutoring young White women -who wish for it- happily to pursue motherhood and home-making, and showing young White men how to be providing, non-angry and generally useful members of nuclear heterosexual families.

  6. Dear Jane,
    A great insight into how the inmates from Bedlam has moved into another area of our beloved country.
    I keep hoping that ‘Banksy’ will be arrested and given an ASBO, and an ankle tag for graffiti.
    R

  7. Thank you for an interesting article Jane. Radicalism in art always did generate a lot of sound and fury but the world seems to come to value some of it when the proponents are safely dead. It does seem though that worthwhile innovations are produced by artists who just get on with the hard work rather than spend their time shouting abuse at the status quo – empty vessels who make too much noise, perhaps. And unfortunately it also seems that allowing the bien-pensant members of the status quo to throw taxpayers’ money in to the mix achieves no more than providing amplifiers for the empty vessels.

  8. The Anglosphere is now organised to transfer cash and assets from wealth-creators to nett-consumers, some of whom are artists. The proportion of nett-consumers is increasing at fast rate. Most nett consumers are raddled by recreational drugs (incl alcohol) and regard themselves as appropriately rebellious against the norms of behaviour and productivity of the wealth-creators who pay for nett-consumers’ life-styles.

    Nett-consumers also regard themselves -and demand that all others laud them- as compasionate, virtuous and seekers of cosmic justice at the highest levels. And many nett-consumers regard themselves as artists whose artistry and insights into the human condition, and the evils of white men and the West generally, are further proof of their superiority over non-artists and wealth-creators.

    And most of the artists (entertainers) who get rich also regard themselves as vastly superior to non-artists (non-entertainers). Indeed, they regard themselves as superior to all other denizens of the Anglosphere, and even some peoples of other spheres.