Recently, Disney released a new, 2D image of Merida. This prompted outrage because the character’s design was altered, for no good reason. The new Merida has been “prettified”–made more conventionally attractive in a way that undercuts the character’s strengths, to the detriment of the children who view her as a role model.
In response, A Mighty Girl released a petition to Disney that outlines the reasons why the redesign is problematic. The petition culminates with a request: to pull the new 2D Merida and restore the character to her original form.
Yesterday, Disney executives went on record regarding the petition. They’re refusing to retract the new Merida, saying she’s only temporary–and their comments show they’ve missed the point.
The L.A. Times reports on the refusal to retract the new Merida:
Disney has no intention of abandoning its sexier version of the Scottish archer.
The modified Merida was created specifically to welcome…
With Angola for the first time a sub-Saharan African country has won the Leone d’Oro/Golden Lion prize for the best national pavilion of the Venice Biennial. This distinction for an African national pavilion during this year’s 55th Venice Biennial has been greeted with inappropriate prejudice by “ART – Das Kunstmagazin”, the leading art magazine from Germany. “ART” commented the jury’s decision with the question “Angola! Where is Angola?” It claimed that hardly any visitor actually saw the work of the photo artist Edson Chagas in Palazzo Cini and speculated about “successful lobbying and networking” by curator Stefano Rabolli Pansera. The only reason which was given for these vague conjectures was the fact that Stefano Rabolli Pansera had already curated Angola’s contribution to the architecture biennial a year ago. The German article is available here:
I ask myself what kind of “networking and lobbying” had preceded the Leone d’Oro/Golden Lion prizes which were previously awarded to the national pavilions of the U.S. with Bruce Nauman in 2009 and of Germany with Christoph Schlingensief curated by Susanne Gaensheimer in 2011? Was there also speculation happening back then about the reasons for these successes? Were those winning countries, artists and curators maybe too established and influential so that there was no reason to worry about illegitimate manoeuvring? Are only the Africans again considered prone to cronyism and patronage which “ART” more stately translated with “networking and lobbying” to make it fit to the aristocratic environment of Venice’s palazzos? “ART” dutifully speaks about detractors spreading such rumours, but the question remains why an influential German art magazine provides ample space for vague suppositions by obviously resentful competitors.
“ART” is issued by the largest German publishing house Gruner & Jahr which itself belongs to the media conglomerate Bertelsmann. It is primarily financed by advertisements of major galleries, museums, art fairs and auction houses and it would be very interesting to find out which hidden agendas “ART” is pursuing with its lopsided coverage of Angola’s success in Venice. Maybe some disappointment about the showing of its own major business clients during the event in Venice played a role as well.
The article was written by Ute Thun who calls herself “Senior Editor” at this magazine. Ute Thun mocked the choice of Angola’s national pavilion to mirror the motto of the main exhibition “Encyclopaedic Palace” by calling the Angolan presentation “”Luanda – An Encyclopaedic City”, instead of ignoring the main exhibition’s theme as allegedly all the other national pavilions did. The question is: What is wrong with picking up and variegating the main exhibition’s motto? Does it mean that the artistic quality of Angola’s contribution is inferior just due to its decision to artistically interpret the Venice biennial’s central theme? Or does she want to tell us that the other national pavilions’ decision to deliberately ignore the main exhibition’s theme proves their independence and intellectualism?
All in all it is somewhat disappointing to see Ute Thun’s narrow-minded, almost stereotypic viewpoint on this year’s winner of the Golden Lion contrast with the magazine’s aspiration to cover the art scene from a global perspective.
Safia Dickersbach, an art market practitioner, born in Dar-es-Salaam, Tanzania, currently based in Berlin, Germany, is the Public Relations Director of Artfacts.Net, a British company which is the leading online database for modern and contemporary art.
The work of Cecil Baugh, Jamaica’s master potter, holds an important place in the history of Jamaican art. Though there is a long tradition of pottery in Jamaica dating back to the Taino, Baugh was the first to systematically explore pottery as fine art; researching and utilising local clays and forms extensively and developing a number of glazes such as Egyptian Blue shown here. As a young man, Baugh’s work consisted largely of traditional Jamaican pottery- yabbas and monkey jars- used for domestic purposes. He soon began to experiment with developing his own style. In his book, Baugh: Jamaica’s Master Potter (1986)co-written with Laura Tanna, he writes:
I thought of glazes but the transparent lead glaze was the only one available. So I started off to experiment. None of the other traditional potters were making coloured glazes but I could see the imported pots were coloured and I thought…
“Fotota” (http://fotota.hypotheses.org/) is a new blog devoted to photography in Africa, its current challenges, readings and discourses. It is jointly run by Érika Nimis and Marian Nur Goni.
It’s time for a little history. Museums have been around for almost as long as recorded history, used as historical resources for the educated elite, like the Musaeum of Alexandria (which included the famous Library) dating from around the 3rd century BCE. Art museums, however, have a significantly shorter history, art having been almost exclusively kept in private collections and archaeological museums until the 15th century. The Pope, of all people, ushered in the era of “public” art collection – primarily sculpture – during the Renaissance and was followed by an influx of public University art collections. The 18th century brought about the golden age of the familiar art museum in the form of a free-standing building with its own collection, Board, and funding. This era brought us the British Museum, the Uffizi Gallery, The Hermitage Museum, The Louvre, and even the Charleston Museum two years before…
ACRAH 