In the Trenches: On Being the Subject of Hostile Art Works

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Michelangelo – King Minos in The Last Judgement (1535-1541) , Sistine Chapel, Vatican

There is a long and not always auspicious history of artists using their work to retaliate against critics and other personal enemies. One famous example is the King Minos figure in Michelangelo’s Last Judgement (1535-1541) fresco in the Sistine Chapel, which was very controversial at the time of its creation (and on several occasions after), because of the frontal (male and female) nudity and the orgiastic quality of the composition. (There is a fascinating TEDx talk art historian Elizabeth Lev on the scandal caused by the Last Judgment – I highly recommend viewing it.) King Minos, who is in the bottom of the hell section of the painting, donkey-eared and besieged by demons and serpents, is actually a portrait of Biagio da Cesena, the master of ceremonies at the Vatican, who had questioned the fresco’s suitability for the Sistine Chapel and notoriously exclaimed it would be more suitable for a tavern or a public bath. De Cesena had objected to Michelangelo’s artistic retaliation to Pope Paul III but the Pope refused to intervene, quipping that he had no jurisdiction in hell, and the Last Judgement remained as it had been completed.

There was at least one more such reference to a critic in the fresco – to the satirist, critic (and pornographer) Pietro Aretino, who is depicted as the elderly St Bartholomew. And more oddly, the flayed skin held by St Bartholomew (who was flayed as part of his martyrdom) is believed to feature an anguished (or angry) self-portrait of Michelangelo himself. It is much harder to decipher what Michelangelo is saying in this particular instance, but it may well be that he is depicting himself as the target of an unfair attack. Aretino had written Michelangelo a letter about the Last Judgment in which he expressed similar concerns as de Cesena subsequently expressed and had, after being dismissed by the artist, lambasted Michelangelo for being gay and “godless,” which were potentially dangerous allegations even in Renaissance Italy. Ironically, Aretino was himself known to have had sexual relationships with men.

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Michelangelo – St Bartholomew in The Last Judgement (1535-1541) , Sistine Chapel, Vatican

Such art works make for good anecdotes and some are in fact quite entertaining – having our enemies dragged by demons into the burning pits of hell is something we all fantasize about at times. But while they were meant to “throw shade” at the person depicted, they also shed light on the personality and intentions of the artist, as the creation of such works sometimes reflects oversized and fragile egos, an unwillingness or inability to contend with criticism, petty vindictiveness, and even clear personal malice. Tellingly, very few are good works of art (OK, OK, I’ll make an exception for the Last Judgement).

This post is not focused on the satire to which public figures should expect to be subjected in the modern world, although even there the question arises about where where the line should be drawn between “acceptable satire,” subject to the principles of freedom of speech, and malicious, personally demeaning representations that may  shade into hate speech. Locally, the cartoons of the Jamaican politician and prime minister Portia Simpson-Miller by the Jamaica Observer cartoonist Clovis are a controversial example and I do believe that lines were often crossed there, with depictions of Mrs Simpson-Miller as an ignorant “ghetto” virago that were arguably sexist, classist and even racist.

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One of the many Trump Cartoons that appear on the daily basis

But what to say about Trump? He is such a problematic public figure, and such a threat to important social, cultural and political values, that it is hard to feel sorry for how he is depicted in the many cartoons, memes, comedy routines and late night TV roasts that pop up constantly in the USA and elsewhere in the world (as well as the occasional work of art). Most are funny and, while politically pointed, not personally offensive, as the one above illustrates, although it is obviously hard to resist the lure of his crazy, self-inflicted hairdo. Normally, I get uncomfortable when public figures are depicted in a sexually demeaning fashion, as these may amount to unwarranted personal violations, and there have been a few such of Trump that focused on alleged penis size etcetera. But then again, his openly sexist attitudes towards women, his own appearance, which does not exactly qualify as the “perfect 10” standard to which he holds women, and the allegations of unwanted sexual approaches to various women, make it harder to object when he is so depicted.

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Ines Doujak – Not Dressed for Conquering/Haute Couture 04 Transport (2011)

But to return to art, a well-known instance of an art work that raised questions about the representation of public figures is Not Dressed for Conquering/Haute Couture 04 Transport (2011), a mixed media installation by the radical feminist Austrian artist Ines Doujak.  In this work the former Spanish King Juan Carlos I is sodomized by the late Bolivian labour leader and feminist Domitila Barrios de Chungara, who is in turn sodomized by a dog. It was included in 2015 in an exhibition at Barcelona Museum of Contemporary Art, which was temporarily closed by the museum director Bartomeu Marí, who also fired two of the exhibition curators — an act of censorship triggered by this particular work that outraged many in the international art world. Marí subsequently resigned and the work has since then been shown elsewhere in Europe and South America.

Most of the discussion was focused on the depiction of the Spanish monarch, but it appears to me that Domitila Barrios, who is in fact the central figure in the work, fared no better, and it is not clear to what end exactly, as there has been very little discussion of the actual content and intent of the work. To me, that is where Not Dressed for Conquering is problematic and a lot of Doujak’s work can in fact be construed as sensationalist and sexually exploitative, of the very women and feminist interests she claims to represent. So perhaps lines were crossed in Not Dressed for Conquering, and arguably not those that attracted the most public attention, but I do not think that censorship was the answer, as pointed critiques and careful analysis of the work would have been far more useful. Doujak has, ironically, been sheltered from any such critiques by being “martyred” as a victim of censorship.Read More »

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Too Close for Comfort

bee-e1452114220653I have a bee in my bonnet. And I have been writing about it here and there on social media, as those who follow me on Facebook will have noticed. It is about the incestuousness, the cliquishness, and the endemic conflict of interest issues that plague the Caribbean art world. Issues that are, if they are even recognized,  often quietly accommodated, buttressed by a disturbingly common “wink-wink, nod-nod, it’s all good as long as I benefit” mentality. Or even vociferously defended as being somehow desirable and beneficial to all, especially in light of the supposedly immense and all-justifying personal sacrifices made by those involved, etcetera. Yet these issues are also the greatest source of alienation, bitterness and division within the Caribbean art world and too much that is (or could be) of real value is not supported or ever seen because the person(s) associated with it are not “in the loop.” And while these issues are a common topic in hushed, “off the record” conversations throughout the region, they are only rarely spoken about in public, at least not in any detail. It appears that we are all afraid of shaking up that particular dolly house. Perhaps there is too much fear of repercussions, of being ostracized for not “playing along”?

I will be told that this is not unique to the Caribbean art world, that it is endemic throughout the global art world. And indeed, there are countless stories all over about curators including work by their lovers in the exhibitions or acquisitions they are handling, and about art jobs and appointments being negotiated in the bedroom, and there is significant, inappropriate overlap between the for-profit, market functions of the art world and those that are supposed to be not-for-profit and for the public benefit. I won’t bother going into detail here, but I don’t think I am exaggerating one bit when I claim that some do not even seem to understand the fundamental difference between an art fair and a biennial, with one being an art market event and the other a supposedly non-profit exhibition, and perhaps understandably so because those boundaries have indeed become blurred. But somehow it feels worse, and more damaging here in the Caribbean, perhaps because there is still more at stake, in terms of artists and other art professionals who are competing for scarce resources and opportunities, and who often do not get the support and compensation their efforts or talents deserve, and in terms of the broader social stakes.

Part of this has to do with how Caribbean societies function, the smallness and the close proximity. Everybody knows everybody, and sometimes too well: people went to school together, they are related, they are past or present friends or lovers (or hopefuls!), or bitter rivals and enemies, and one does not have to exclude the other. Much of this incestuousness is fueled by the unearned privilege and deep-rooted sense of entitlement of those who are already major beneficiaries of how Caribbean societies typically function, by virtue of their position in the race-class hierarchies, their education, their access to travel and resources (and that includes the ability to get visas), and their personal and political affiliations–positions of privilege which very few are ever willing to surrender or even acknowledge. And yes, some are new, or relatively new, to these positions of privilege, and many are struggling financially (or think they are, although they are not really poor), but their lack of self-reflexivity about these issues is often just as real as that of those who have a more established and secure position in it. And some participate just as enthusiastically in the self-perpetuating “mutual benefit societies” that make the Caribbean art world tick.

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