Deutsche Börse Photography Foundation Prize 2023 @ the Photographers’ Gallery

The Deutsche Börse Photography Foundation Prize is not an open competition which anyone can apply to, like the BP Portrait Award or the Royal Academy Summer exhibition. The exact opposite: the curators choose just four finalists from what they consider to have been the best photographic exhibitions staged by individual photographers, in Europe, in the previous 12 months. To be precise, the stated aim of the prize is to ‘reward artists and their projects considered to have made the most significant contribution to photography over the previous 12 months.’

Therefore, if you visit the Photographers’ Gallery in the next few weeks you will find four rooms, each devoted to an in-depth display of work by just four international shortlisted artists. In alphabetical order these are Bieke Depoorter, Samuel Fosso, Arthur Jafa and Frida Orupabo. The winner of the prize was announced on 11 May and got a tidy sum of £30,000 (the other three entrants got £5,000 each). Who was the lucky winner? I’ll tell you at the end of this review.

I’m going to address the photographers in the order you actually encounter them in the gallery, rather than alphabetically.

1. Frida Orupabo

Frida Orupabo (born 1986) is a Norwegian of Nigerian heritage i.e. Black. She began posting photo collages on Instagram in the mid-2010s, cutting and pasting together images of Black bodies using historical and archive material; then in 2017 she took her approach into the real world (i.e. not just on a screen), creating the large collages you see here. All this led up to the exhibition which brought her to the curators’ attention, which was titled ‘I’ve seen a million pictures of my face and still have no idea’, which was held at the Photomuseum Winterthur, Switzerland, February to May 2022.

Installation view of Frida Orupabo at the Photographers’ Gallery

I immediately liked the results – very big, frameless, freestanding works which are more like sculptures hanging on walls than traditional photos. As far as I could tell, none of them had titles. Orupabo’s being Black and being a woman i.e. pressing contemporary art’s two big buttons of race and gender, sends the curators into a tizzy of artspeak:

The sculptural collages and digital works of Frida Orupabo are multi-layered formations, exploring questions of race, sexuality and identity. Orupabo, a Norwegian Nigerian artist and sociologist, grounds her inquiry in her own experience of cultural belonging. Utilising visual material circulating online, spanning colonial-era photographs and ethnographic relics to contemporary imagery, Orupabo’s hand-wrought works re-arrange and re-make the archive. The resulting images take the shape of fragmented Black, mostly female-bodied, figures.

These figures, first dislocated, are reassembled layer by layer in a complex and poetic manoeuvre that simultaneously denounces one-dimensional depictions of Black lives. Her collaged cutouts hold our gaze and invite various readings of the stories and lives of the people depicted, many of whom are entirely absent from the archives. In this way Orupabo invites a consideration of how photography significantly contributes to the formation and perpetuation of colonial power relations and violence.

Turning by Frida Orupabo (2021) © Frida Orupabo Courtesy of the artist and Galerie Nordenhake, Berlin, Stockholm, Mexico City

Does photography ‘significantly contribute to the formation and perpetuation of colonial power relations and violence’? Isn’t that like saying books ‘significantly contribute to the formation and perpetuation of colonial power relations and violence’ or laws ‘significantly contribute to the formation and perpetuation of colonial power relations and violence’? Surely any technology can ‘significantly contribute to the formation and perpetuation of colonial power relations and violence’ if that’s how the people wielding it want to use it. Probably guns contributed quite a bit ‘to the formation and perpetuation of colonial power relations and violence’, probably quite a bit more than photography. In fact photographs of the atrocities carried out by the authorities in the Belgian Congo did as much to disgrace and discredit that authority, as the kind of photographs the curators have in mind, the kind used to measure and categorise the Indigenous peoples, did to define and control them. Photography is just a technology. I can be used for good or evil. Writing that ‘photography significantly contributes to the formation and perpetuation of colonial power relations and violence’ is just art school boilerplate, modish rhetoric, smart-sounding swank (definition: ‘behaviour, talk, or display intended to impress others).

Anyway, as so often, the curators’ obsession with the twin shibboleths of race and gender blind them to the specificity of the actual art in front of them. Two things struck me. One was the way the deliberate crudeness of the artefacts is intentional: heads are pasted onto bodies at anatomically impossible angles, a pair of legs are completely separated from a body. She is highlighting the utter dysjunctive effect of her collages, their complete artificiality, and that reminded me of Dada, of the deliberately unsmooth, jagged photocollages of George Grosz or John Heartfield from 100 years ago.

Installation view of Frida Orupabo at the Photographers’ Gallery

But something not at all hinted at in the curators’ commentary is the horror tropes. In the top photo you can see that the loosely female figures are, from left to right, 1) attended by two sort of flying rabbit demons; 2) sitting on a monster’s head; 3) is shaped like a mermaid; and 4) in the most striking image, is a human head cut and pasted onto the body of a bat. A whole lot of stuff is going on here, but what strikes me is the invocation of imagery of Gothic tales and horror stories; it’s the stuff of Goya nightmares. What? Why? In this respect she reminds me of the way Kara Walker’s silhouettes of Black people in ante-Bellum Deep South morph into nightmare, monster images.

Installation view of Frida Orupabo at the Photographers’ Gallery

Anyway, it was the sheer weirdness of these big collages which grabbed me, not their alleged commentary on colonialist this, that or the other, and so I’ll tell you straightaway that, for the uncanny unexpected weirdness of her images, Orupabo was my favourite of the four artists: I wanted her to win.

2. Bieke Depoorter

Bieke Depoorter was born in 1986 in Belgium. She was selected for this prize on the basis of a 2022 exhibition titled ‘A Chance Encounter’, staged at C/O Berlin from April to September 2022. The display here consists of two parts, titled ‘Michael’ and ‘Agata’. Apparently:

In ‘Agata’, a first meeting [with Agata Kay] in a Parisian strip-club in 2017 evolves with complex tension into an intricate, changing narrative. The project explores questions of collaboration, the limits of a creative friendship, performance, boundaries and authorship.

I couldn’t find ‘Agata’. Possibly it amounted to one framed photo of a pink room, and maybe a collage of movie posters on one wall, but these weren’t labelled so I wasn’t sure. Going back to reread the introductory wall label more carefully I realised that the subject of Depoorter’s photos, the stripper Agata, eventually asked Depoorter to suspend their relationship and asked that all record of the photos, conversations and letters involved in it be erased. Maybe the Agata project is the absence of any materials about the Agata project. OK. That has a pleasing 1970s conceptual art feel about it.

But the reason I wasn’t too sad about not finding ‘Agata’ is because it was completely dwarfed by the other project displayed here, ‘Michael’. This is an epic, dense, absorbing and deeply unsettling work.

in 2015 Depoorter met a middle-aged, confused man named Michael on the streets of Portland, Oregon, USA. They got talking and Michael took her to his apartment which turned out to be covered from floor to ceiling with scrapbook-style cut-outs from magazines, books, newspapers, school reports, journals and diaries and all manner of bric-abrac.

Michael at home, Portland, Oregon, May 2015 by Bieke Depoorter, © Bieke Depoorter/Magnum Photos. Courtesy the artist

As a result of this encounter Michael gave Depoorter three suitcases containing a trove of his personal items, sketchbooks and essays which she, for unexplained reasons, accepted. Then, presumably, she departed Portland, for the wall label explains that, at some point later on, she tried to contact him again and failed. When she flew back to Portland to find him she discovered his flat rented to someone else and  that Michael had vanished, leaving no trace.

At which point Depoorter commenced what appears to have been months if not years of effort to track him down, the start of an obsessive quest to find Michael and to understand his life. As far as the labels tell us, to this day she still hasn’t found him, but along the way she has created the two big things which this darkened room is filled with. One is the way all the walls are even more covered in detritus and scraps of every kind than Michael’s apartment was, the records and ephemera of her hunt which Depoorter has acquired over the past 6 or 7 years.

Installation view of Michael by Bieke Depoorter at the Photographers’ Gallery

Post-its festoon multiple layers of documents and diaries and journals and magazine photos and contact sheets. Arrows connect different pieces of evidence. It’s exactly like the room of the crazed serial killer which the cops eventually break into in all those American psycho movies. She calls it ‘The investigation room’ and what we see here is just a fragment of the materials she’s accumulated in her obsessive, endless search. She has supplemented Michael’s own collection of ephemera with her own. The two sets of detritus are intimately interwoven. But spooky though this is, it isn’t the main thing: the main thing is the film.

Installation view of ‘Michael’ by Bieke Depoorter at the Photographers’ Gallery

It’s a 31-minute-long film detailing Depoorter’s obsessive quest so far. There are no moving segments. It consists entirely of still photos, so it’s by way of being a slideshow of places she’s been to and people she’s interviewed as she delves deeper into Michael’s life and past, her words and those of the interviewees appearing as captions on the screen.

So, in the sequence I watched, Depoorter spoke to some people who were at high school with Michael, who described his intense upbringing by nice but weird Mormons. We see stills of Michael’s high school yearbook with jagged, uneven hand-written notes scrawled across it. It has lots of overtones of serial killer movie, except Michael is no killer, just an oddball Depoorter bumped into and became slowly obsessed with.

If all this sounds weird (and it definitely is) after just a few minutes I found the pace and determination of Depoorter’s narrative drawing me into the film. Michael may have been just an insignificant nobody and yet, in Depoorter’s powerful telling, the memories of childhood friends and schoolmates become weirdly compelling. I realised I was being drawn into Depoorter’s own obsession. It’s contagious!

The curators comment that this work interrogates:

the complex ethical relationship and boundaries…between the photographer and their subject [and] questions the role and responsibilities of the photographer, the possibility or impossibility of truth in representation and grapples with personal and professional boundaries.

No doubt. But something deeper and weirder was also at work here. I was quite relieved to break away from the film and step back out into the light airy gallery space.

3. Samuel Fosso

Samuel Fosso was born in 1962 in Kumba, Cameroon. He was selected for the prize on the basis his exhibition ‘Samuel Fosso’ at the Maison Européenne de la Photographie, Paris, from November 2021 to March 2022.

Since the mid-1970s Fosso has dedicated his artistic practice to self-portraits and performative photography. In vulgar language, he dresses up and photographs himself. At the tender age of 13 he set up a Studio Photo Nationale in Bangui, capital of the Central African Republic. Alongside commercial work, Fosso began a series of self-portraits, and has carried on to the present day, hence a nickname he picked up along the way, ‘the man of a thousand faces’.

Autoportrait by Samuel Fosso, from the series 70s Lifestyle (1976) © Samuel Fosso. Courtesy of the artist and JM Patras, Paris

More recently Fosso has created a series titled ‘African Spirits’ in which he dressed up as – and recreated famous photographs featuring – Black celebrities such as (the ones on display here) radical activist Angela Davis, Martin Luther King, Malcolm X, Haile Selassie and Tommie Smith, one of the African Americans who gave the Black Power clenched fist salute from the podium of the 1968 Olympics.

Installation view of ‘African Spirits’ by Samuel Fosso at the Photographers’ Gallery. Can you name all 6 of these famous Black figures?

According to the curators:

Playing the role of key historical figures and social archetypes in front of the camera, Fosso embodies a powerful way of existing in the world, and a vivid demonstration of photography’s role in the construction of myths.

There’s also a pair of huge colour photos of himself dressed as soldiers from the First and Second World Wars, tribute to the many African and Black soldiers who fought in those wars (see my blog post, Congolese soldiers in the world wars).

Compared to the previous two displays, photocollage sculptures and a weirdly compelling documentary film, Fosso’s exhibits – classic framed photographs – seemed, well, kind of obvious, kind of quaint.

4. Arthur Jafa

Arthur Jafa was born in 1960, Tupelo, Mississippi, USA. He is an artist and filmmaker. What is an American doing in an exhibition supposedly restricted to exhibitions in Europe?

Well, one answer is that art curators can’t stop themselves promoting the Great Yoonited States of America: after all, Depoorter’s  ‘Michael’ project is about an American and entirely set in America and half of Fosso’s African Spirits are American. And now we have an actual American photographer. Three out of the four displays are heavily or entirely American.

Why do British curators love American art?

What can you do against the endless tide of American art and artists being promoted by British art curators and adding to the vast sea of American culture which floods all our channels? If Britain’s art curators are so hell-bent on promoting American culture and American values at every opportunity, all I can do is register my feeble protest and point out that there are, in fact, other countries in the world apart from America. Quite a few, actually.

Why do we rarely or never hear about them? Because America is easy, that’s why. American art comes pre-packaged with 1) fluent, articulate artists who are great in interviews 2) innumerable American critics who bubble over with rhetoric about race and gender and 3) political and cultural ‘issues’ which we all already know too much about about because they flood our TV, radio, movies, documentaries, newsfeeds, twitter and all the other American-run social media.

When an American artist gives an interview saying they’re addressing issues of #metoo or Black Lives Matter,everybody immediately knows what they’re talking about and nods in concerned sympathy because we’ve already seen and heard and read hundreds and hundreds of news items and newspaper stories and magazine features and documentaries interviews and tweets about just these ‘issues’.

American art is like McDonalds art. It’s smooth, pre-packaged, ready to consume, processed, pre-masticated, baby food. Just add water and you’re good to go. Compare and contrast the problems you’d encounter with the language barrier and with explaining all the little-known historical and cultural references if you tried to stage an exhibition of contemporary, say, Indonesian or Peruvian art. But another African American artist yakking about slavery or the institutional racism of American society – piece of cake, child’s play, no brainer, no mental effort required, just the appropriate amount of liberal sympathy.

Arthur Jafa

Anyway, Jafa is here despite not being European because his exhibition, ‘Live Evil’, was shown at Arles in the South of France i.e. a European venue, from April to November 2022.

There’s a video of an extended interview with Jafa. He’s very angry about racism, in America, Europe, everywhere. In the bit I watched he quoted Malcolm X and the Black Panthers. In a modern art gallery you’re never far away from the 1960s. My eyes glazed over because I have heard scores of Black artists complaining about racism in America and read hundreds of articles about racism in America. Black Lives Matter posters hang in the windows of concerned students round where I live.

The stories of Uyghurs Muslims locked up and tortured in Xinjiang, of the people dying and displaced in Yemen or Syria, of the 920,000 Rohingya refugees from Myanmar living in the world’s largest refugee camp in Bangladesh, now as I write and you read? Are these packing the walls of the Barbican, Tate Modern, the Royal Academy, the Photographers’ Gallery? No. Silence. Nada. Their stories will never be told. They might as well not exist. But another American artist doing another show about how racist America is? Take your pick.

One last obvious point about the ubiquity of American artists: America is rich. It has the wealth to support a huge class of artists who, if they play their cards right, can become very wealthy, successful, appear in all the right magazines, and generally enjoy a great lifestyle. Makes me feel a bit sick when artists from the richest country in the world complain about their suffering and oppression. Go and live in Somalia, Sudan, Liberia, Afghanistan for a month then fly back to your air-conditioned studio in LA and tell me about the suffering of ‘your people’.

Anyway, according to the curators, Jafa’s work is another ‘extended meditation on the issues of race and the Black experience’. Just like Frida Orupabo’s display, then. I’d swear there are other ethnicities in the world apart from Black and White. There are quite a lot of Indians and not a few Chinese, for a start. But not in Curatorworld. Black, Black and more Black, preferably American Black, is the only experience, the only voice, the only art we are going to be shown. I’m not saying ‘the Black experience’ is not a thing to investigate. I’m just saying that maybe it’s not the only story in the entire world to be aware of, to listen to.

Anyway, to quote the curators:

Drawing from a rich collection of images, film footage and music, Arthur Jafa uncompromisingly articulates Black experience, providing us with an exercise in visual literacy, confronting us with a new Black aesthetic which avoids fixed hierarchies and linear storytelling

There are just six works in Jafa’s display, six very large photos. First, maybe a word of explanation about the tile. ‘Live Evil’ is the name of a Miles Davis album, released in 1971, a live recording of a concert performed in December 1970 in Washington DC. After the epoch-making ‘Bitches Brew’ of 1969, Miles was working with a large group of almost entirely electric instruments, producing a strange voodoo swamp sound, mashing up heavy funk grooves with Jimi Hendrix guitar, and his own trumpet heavily electronically distorted. During this period Miles cultivated a dark and brooding image. He revelled in the nickname ‘the Prince of Darkness’, in fact he released an album titled ‘The Prince of Darkness’ in 1971, same years as ‘Live Evil’. Anyway, ‘Live Evil’, which sounds like this:

Miles Davis (1926 to 1991) was without doubt one of the great musical artists, composers and performers of the twentieth century. In the show he is featured in a diptych (‘any object with two flat plates which form a pair’) alongside the godfather of the Delta Blues, acoustic guitarist and singer Robert Johnson (1911 to 1938), which looks like this:

Bloods II by Arthur Jafa (2020) © Arthur Jafa. Courtesy of the artist and Gladstone Gallery

Johnson died young leaving only 20 or so recordings behind which have, nonetheless, become legendary and inspired all the blues guitarists of the 1940s and since. Dying young, Johnson left a legend or urban myth about himself which is that, in order to play so amazingly, he had sold his soul to the Devil. This legend was fostered by tracks with titles like ‘Me and the Devil Blues’ or ‘Hellhound on my trail’:

So what does Jafa’s juxtaposition of these two Black musical icons tell us? Well for a start, they both made smoking look cool. To consider their music, although only about 40 years separate the photos (1930 to 1970) they seem musically and technologically galaxies apart. Then again, maybe they’re linked by the common thread of their devilish reputations, hellhounds and princes of darkness. Finally, maybe it’s simpler than that: Robert and Miles were both outstanding musicians, embodiments of Black excellence.

Across the room is another, bigger and more dramatic juxtaposition:

‘Mickey Mouse was a Scorpio’ by Arthur Jafa (2016) © Arthur Jafa. ). Courtesy the artist and Gavin Brown’s enterprise

On the face of it, this is a straight contrast between an image of innocence and one of scary threat. Yet some other visitors I got talking to explained to me that they’re both images of identity masquerade: apparently, the earliest iterations of Mickey were based on white entertainers who’d blacked up as minstrels; while the figure on the right is actually a white actor who has blacked up using scary voodoo imagery (I assume this photo was shot on a film set but I can’t find out which one. Do you know?). They’re both lies, or deceptions, or multi-layered images of Blackness. Is that it?

This article explains that Jafa’s work:

tackles the complexity of African-American cultural identity, as defined by an existential paradox that places the Black subject ‘in essential intimacy with death’, as Saidiya Hartman explains in Jafa’s documentary ‘Dreams are Colder than Death’ (2013).

The endlessness of American pop culture

I liked the clarity of these dyptychs and also the fact that they were much deeper than they first appeared to be. The trouble, though, with popular culture, especially American popular culture, is that it is endless. Like the Bible, you can find a passage or quotes to prove anything you want to. I can cut and paste Homer Simpson next to Superman and straightaway I’m making important statements about masculinity, or something. Given such a vast sea of pop ephemera it would be hard to splice together two random elements and not find yourself raising interesting cultural or semiotic issues.

American culture combines technological wizardry with super-refined commercial strategising. Look at the Marvel Comic Universe movies, which are spectacular viewing, rank as the highest-grossing film series of all time, having netted over $29.1 billion, and have a mental age of around 9.

And American artists are trapped within this culture, condemned to try and imbue meretricious trash with meaning – and Black American artists are doubly trapped, trapped in a sea of Americana from which they (apparently, if someone like Jafa is to be believed) feel profoundly alienated. So I understand Jafa when he says that Black American artists are they trying to create narratives of Blackness which will help them navigate the bottomless dumpster of American pop culture, and the complex matrix of racist laws, assumptions and culture. I assimilate this kind of message because I’ve heard it hundreds, maybe thousands of times. It comes pre-packaged and ready to consume.

Anyway, the puzzling thing about the Arthur Jafa display is that the use of these two sly juxtapositions is not his only trick – only two of the six items use it; the other four items are single images and far more varied, not to say troubling.

One is a treated image of the Black singer of a rock band (HR of Bad Brains) jumping about onstage, which left me cold, having spent too much of my teenage year paying attention to images of rock performers to be impressed by one more.

But in a completely different tone from everything else, one entire wall is taken up with an enormous photo of what appears to be a room somewhere in Rwanda, empty of people, but filled with washing lines (?) from which hang the clothes and rags of people hacked to pieces in the terrible genocide.

Installation view of Arthur Jafa at the Photographers’ Gallery

Is this part of ‘the Black experience’? Or the African experience? Or the human experience? It was certainly part of this generation of Rwandans’ experience. Does it directly impact anyone who wasn’t there? If so, why more so than the Armenian genocide or the Holocaust or – the most disastrous civil war in history, the Taiping Rebellion in China in which at least 20 million perished (which I’ve just been reading about at the new exhibition at the British Museum)? Or the Great Leap Forward, 1958 to 1962, in which anything up to 50 million Chinese starved to death? Or, during my lifetime, the killing fields of Pol Pot’s Kampuchea in which up to 2 million people, a quarter of the population, were murdered or starved to death, 1975 to 1978?

I carry the images and histories of all these atrocities in my head, which not only gives me a very dim view of human nature, but also appears to be where I differ from someone like Jafa, because I don’t categorise these atrocities by the skin colour of the victims. They’re all human to me, each one an individual who suffered more than I can imagine, died in misery and terror, mounting up to a vast weight of guilt on the conscience of mankind. The collected atrocities of mankind don’t respect colour or ethnicity, which is why I find the foregrounding or privileging of some massacres or genocides over others morally repugnant.

Anyway, back to Jafa. The last piece in his display is a partial sculpture, a kind of bas-relief hanging on the wall of the whip-scarred back of a Black slave, a very potent image of man’s grotesque inhumanity to man or the atrocities of the Atlantic Slave Trade.

Ex-Slave Gordon 1863 by Arthur Jafa (2017) © Arthur Jafa. Courtesy of the artist and Gladstone Gallery. Photo by the author

I get it, the Black slave trade was a very, very bad thing and generations of white exploiters captured, bought, transported and treated their African slaves with unbearable savagery and brutality. But I happen to have just finished reading Robert Hughes’s epic history of transportation to Australia, The Fatal Shore, and it is packed to overflowing with the unspeakably sadistic treatment meted out to the transported white convicts, especially in the penal colonies of Port Moresby and Norfolk Island. For even slight misdemeanours like looking at an overseer the wrong way, a convict could get three hundred lashes till bystanders could see their spine and ribs through the remains of their butchered back and the bystanders had to pick gobbets of raw human flesh off their clothes. Hughes repeats descriptions of British or Irish convicts who were whipped to death. So this, for me, is the image of a whipped human.

Most of human history is an abattoir. To limit notions of suffering and injustice to just one ethnicity or to one group or one class seems to me historically and morally questionable. It’s a form of boasting – my grievance is bigger than your grievance. It’s very much part of the grievance and victim culture which America has perfected and exported to the rest of the developed world.

But billions have suffered abominably, in every continent, at the hands of all races. The génocidaires in Rwanda weren’t white. The killers in Cambodia weren’t white. The people who implemented the Great Leap forward weren’t white. The murderers of 1.5 million Armenians weren’t white. The administrators of the gulags weren’t Western imperialists.

If these seem disproportionately enormous ideas for a photography exhibition that’s because Jafa is aiming to trigger big ideas about history. It’s just that I happen to be, maybe, more knowledgeable about the history of atrocity than the average gallery goer and so my frame of reference is wider, maybe, than he intends. Maybe it’s just me. I’ve read more widely about atrocities throughout history than is good for anyone, and so this powerful object triggers a wider, deeper historical response than he was, maybe, expecting.

I’m reading Emma Sky’s book about Iraq. She mentions General David Petraeus raising Thucydides’s Melian Dialogue in conversation. This was written about the siege of Melos in 416 BC, part of the wider the Peloponnesian War. When the Athenians finally took the city of Melos they executed the entire male population and enslaved all the women and children. My year of reading Roman history and literature drummed into me that slavery was a universal institution throughout the ancient world, that the civilisations of ancient Athens, Rome and Egypt entirely depended on it and that the huge slave population was subjected to terrible, awful lives of unending labour and liable to whipping, cutting, maiming and torture for the slightest infraction.

That’s what I know, that’s what an image like this triggers; not the suffering of one particular group, but the universal horror of human history.

Jafa summary

Anyway, back from these vast horizons to a small room in Soho containing half a dozen artworks by Arthur Jafa. The conclusion from this small display seems to be that Jafa has at least two modes of operation, one consisting of the canny juxtaposition of images from popular culture, an astute form of curating and darkling satire; the other mode, flat-out horrific memorials of ‘the Black experience’.

This latter is, as you can imagine, catnip to modern white curators, driven by the bottomless resource of white bourgeois guilt:

By placing one resonant cultural artefact next to another Jafa references and questions the universal and specific articulations of Black experience. Eschewing a linear narrative, Jafa organises his material through formal and affective associations, linking his images through visual resemblance or thematic resonance. In this way Jafa aspires to an art that harnesses ‘the power, beauty, and alienation of black music.’

That’s from the press release. On the introductory wall label the curators say:

Embracing slippage and dissonance Jafa creates art that is as fluid and multidimensional as Blackness itself.

‘…as fluid and multidimensional as Blackness itself.’ What I took from the four exhibits on show here is that ‘Blackness’ as an artistic, critical and curatorial concept is indeed so fluid and multidimensional that artists, critics and curators can say almost anything about it and sound convincing. It lends power and a sense of urgency and relevance to even the most anodyne exhibition. It adds the spice of the ‘radical’ to a medium which all curators are uneasily aware is overwhelmingly white and bourgeois. Along with Gender it is a power word and, more than that, a kind of ideological matrix or discursive machine, which will continue to generate works and words, art and discourse, with ever-proliferating effect, for the foreseeable future.

From one perspective, ‘the Black experience’ as an art category is not so much the product of Black people’s actual experiences (which I imagine are very varied and complex) as it is of the liberal guilt of the White art establishment.

Who won?

Who do you think should have won the prize? It was won by Samuel Fosso, ‘the man of a thousand faces’. Why? Shoair Mavlian, the (White, obvz) Director of The Photographers’ Gallery and Chair of the Jury said that Fosso’s:

‘sustained exploration of self-portraiture uses a traditional, studio-based approach steeped in history, while at the same time his work remains relevant and addresses contemporary political issues of today with humour and authenticity. His work has created an extraordinary platform for Black voices and artists throughout his career.’

It’s a difficult choice but I think I liked Frida Orupabo’s weird, Gothic photomontages more than Fosso’s dressing up; and, although I’ve just given him a hard time, actually the clarity and design of Arthur Jafa’s diptychs have stayed with me days later, but then that’s American art for you, as slick and efficient as a Spielberg movie.

Who would you have given the prize to?


Related links

Atrocity reviews

More Photographers’ Gallery reviews

Faith Ringgold @ the Serpentine Gallery

‘I can’t get through the world without recognizing that race and sex influence
everything I do in my life.’
Faith Ringgold

Cycle through London’s diesel-polluted streets to the Serpentine Galleries for the launch of the second of two exhibitions showcasing the art of American woman artists. This one is a ground-breaking survey of the work of African-American woman artist Faith Ringgold.

Jazz Stories: Mama Can Sing, Papa Can Blow #1: Somebody Stole My Broken Heart (2004) by Faith Ringgold © 2018 Faith Ringgold / Artists Rights Society (ARS) New York, Courtesy ACA Galleries, New York

Faith Ringgold’s biography

The press release includes a potted biography of the artist, thus:

Faith Ringgold was born in Harlem, New York in 1930 (so she is currently 88 years old).

Faith Ringgold is an artist, teacher, lecturer and author of numerous award-winning children’s books.

Faith Ringgold received her BS and MA degrees in visual art from City College of New York in 1955 and 1959.

A Professor Emeritus of Art at the University of California in San Diego, Ringgold has received 23 Honorary Doctor of Fine Arts degrees.

Ringgold is the recipient of more than 80 awards and honours including the John Simon Guggenheim Memorial Foundation Fellowship, The American Academy of Arts and Letters Award and recently the Medal of Honour for Fine Arts from the National Arts Club.

In 2017, Ringgold was elected a member into the American Academy of Arts and Sciences in Boston.

Ringgold’s work has been shown internationally, most recently:

  • in the group exhibition Soul of A Nation: Art in the Age of Black Power, Tate Modern, London (2017)
  • We Wanted a Revolution: Black Radical Women, 1965 – 85, Brooklyn Museum (2017)
  • Post-Picasso Contemporary Reactions, Museu Picasso, Barcelona, Spain (2014)
  • American People, Black Light: Faith Ringgold’s Paintings of the 1960’s, the Neuberger Museum, Purchase, New York (2011)

Ringgold’s work is in the permanent collections of numerous museums in the United States including:

  • The Metropolitan Museum of Art
  • Museum of Modern Art
  • Whitney Museum of American Art
  • Solomon R. Guggenheim Museum
  • The Brooklyn Museum
  • The Studio Museum in Harlem
  • The National Museum of American Art, Washington, DC
  • The Art Institute of Chicago
  • The Boston Museum of Fine Art

Politics

Ringgold’s art is drenched in politics, specifically American race politics, from the Civil Rights Movement through Black Power to Black Lives Matter. And in feminism, the women’s movement, from women’s liberation through to the #Metoo movement. Almost all her works have a subject, and that subject is political in intention, either publicly and polemically political, or more subtly personal, implicit in the stories of her extended families and their experiences as black people in America.

The Flag is Bleeding #2 (American Collection #6) (1997) by Faith Ringgold. Private collection, courtesy Pippy Houldsworth Gallery, London © 2018 Faith Ringgold / Artists Rights Society (ARS), New York

As the press release puts it:

For more than five decades, Ringgold has consistently challenged perceptions of African American identity and gender inequality through the lenses of the feminist and the civil rights movements. As cultural assumptions and prejudices persist, her work retains its contemporary resonance.

Hence she has produced series of works with titles like ‘Slave Rape’ and the ‘Feminist series’, and ‘Black Light’, and works like ‘Woman Free Yourself’.

Protest and activism have remained integral to Ringgold’s practice since she co-founded the group the National Black Feminist Organization in 1973 along with her then 18 year-old daughter, Michele Wallace.

In her earliest works in the 1960s, the ‘American People’ series (1963-67), Ringgold took ‘the American dream’ as her subject to expose social inequalities.

By the 1970s, Ringgold, along with her daughter, was leading protests against the lack of diversity in the exhibitions programme at New York’s Whitney Museum of American Art. Forty years later her work was included in an exhibition at the same museum, on the subject of protest.

Fifty years after her earliest work, she published in 2016 We Came to America, a children’s book that celebrates cultural diversity. From start to finish her art is concerned with the political implications of black life in America.

And as a white man viewing the exhibition, I have no doubt African Americans were horribly oppressed – through centuries of slavery, the inequities of the Reconstruction period, the Jim Crow laws, lynchings, segregation in the Deep South which lasted well into my own lifetime – and that Ringgold’s work is testimony to the enduring hurt and trauma of the suffering of the black experience in America right up to the present day.

But… well… I feel I have watched so many documentaries, been to so many exhibitions, watched so many movies and TV shows and read so many books about the suffering of African Americans that, horrible and true though it all is… well…The subject is certainly not new.

And also, although her treatment of it is sometimes harsh and explicit, more often it is oblique, with a lot of emphasis on Ringgold’s own personal experiences and the stories of her extended family.

And also the nature of the art itself – the use of soft and even luxurious fabrics – tends to soften and mediate the impact of a lot of what she’s saying.

The art

What I’m struggling to define is that I found the subject matter of many of the works less interesting than the form and the variety of experiments in form and presentation which Ringgold has made throughout her career as an artist rather than as a political activist.

Rather than shaking my head at the atrocities of slavery and institutional violence against African Americans, I more often found myself nodding my head at the inventiveness and exuberance and optimism of much of her art.

Roughly speaking, the works came in four shapes or styles:

  1. Paintings
  2. Posters
  3. Tankas
  4. Quilts

These four can be divided into a simpler binary division – before and after the tankas.

1. Paintings

Her earliest works appear to be fairly traditional paintings, mostly of people, contemporary Americans, done in a naive, kind of cartoon Modernism. The earliest works here come from the ‘American People’ series, which mostly depict white bourgeois figures with more than a hint of irony or satire.

As such, some of them sort of reminded me of Weimar satire from the 1930s. The reduction of this woman’s neck and boobs to circles and tubes, and the deliberately garish unnatural colouring reminded me of 1930s Picasso.

American People #9: The American Dream (1964) by Faith Ringgold. Courtesy Pippy Houldsworth Gallery, London © 2018 Faith Ringgold / Artists Rights Society (ARS), New York

There are about ten or so of these early paintings and their feel for design and layout, and their type of super-simplified, Henri Rousseau-style, naive figuration is extremely beguiling.

American People #15: Hide Little Children (1966) by Faith Ringgold. Private collection, courtesy Pippy Houldsworth Gallery, London © 2018 Faith Ringgold / Artists Rights Society (ARS) New York

As the 60s progressed Ringgold created a series titled ‘Black Light’ which took the same kind of stylised human faces, but experimented with casting them in varying shades of black and brown. Literally investigating the changing effects of blackness and brownness in painted portraits.

2. Posters

By the later 1960s the social situation in America had become revolutionised, not least for African Americans, with the much more aggressive Black Power and Black Panther groups replacing the peaceful, early 60s, Christian activism of Martin Luther King’s civil rights movement. Also, the Women’s Liberation movement was inaugurated and spread like wildfire through a generation of frustrated, intelligent women, impatient at being pigeon-holed, stereotyped, objectified and held back in every area of civil life.

Ringgold responded to this explosion of activism by creating banners and posters with stark textual messages, such as ‘Woman Free yourself’, ‘Woman Freedom Now’, ‘United States of Attica’ (a response to the uprising at Attica Prison in New York State where 2,000 prisoners seized hostages and held out for four days till the state police took back control in a pitched battle in which 43 people were killed [10 staff, 33 prisoners]).

The posters use cut-out paper to create vibrant text against jangling colours, as well as offset prints and silkscreen techniques. Text, colour, patterns and shapes.

Woman Free Angela (1971) by Faith Ringgold

Next to the posters are hung a series of images from the same period (1970-72) depicting the American flag – ‘The People’s Flag Show’ as well as ‘United States of America’ – a map on which has been written every instance of anti-black police brutality. Politics, black anger.

There’s one titled ‘Judson 3’ which refers to the following event:

In 1970, there was a Flag Show that took place at the Judson Memorial Church on Washington Square Park, for which Faith designed the poster. The show, after massive participation on the part of artists in New York, was closed by the Attorney General’s office. Faith, Jon Hendricks and Jon Toche were arrested and charged with Desecration of the Flag. As a consequence, they were dubbed the Judson 3. They were subsequently vindicated of all charges on appeal by lawyers who were assisted by the American Civil Liberties Union. It was an important case for Freedom of Speech among artists.

So Ringgold herself was directly, personally, physically involved in the kinds of protests and events she celebrates.

The urgency of the commitment to political issues at the end of the 60s, which found expression in posters, placards, banners, mottos and logos, reminds me of the banners and posters being made at exactly the same time by the nun-turned-artist Corita Kent, who was recently the subject of an eye-opening exhibition at the House of Illustration at King’s Cross.

3. Tankas

So far so bold, brash and colourful. But her career takes a massive and decisive shoft with the discovery of fabrics. 

The story goes that Ringgold was on a visit to Europe and in a museum in Amsterdam looking at the venerable art of the Old Masters, when someone suggested she take a look at a nearby display of tankas.

tanka is a Tibetan hanging tapestry made of cotton or silk which contains or frames a painting of Buddhist deities, scenes, or a mandala. Tankas are generally portrait-shape and very, very big.

In a flash Ringgold realised this represented a liberation from the western white male tradition of the Oil Painting.

Here was something which broke with traditions of painting, of a discrete privileged image contained in and defined by a heavy gold frame and hung on a wall to be admired by millionaire owners.

Here was a way of presenting images within a much more populist, accessible, craft setting – and in a way which created a much more complicated interplay of fabrics and textures and mixed surfaces.

Almost immediately after the trip, in 1972-3, Ringgold made a series titled ‘Feminist series’ which explores this new medium. The oriental origin of the form appears to be reflected in:

  • the tall narrow format
  • the impressionistic treatment of trees and forests
  • and the use of text (as in the posters) but written vertically, in the Chinese style, completely against the western tradition

In the example below, note the way a) the main image is painted in acrylic but b) embedded in a fairly complex surround of fabrics c) the way it is designed to be hung and so has a loop of fabric at the top allowing a metal bar like a curtain rail to go through it and d) there are braided tassels hanging from each end of the curtain loop. (N.B. There is some text in the blue sky at the top of the painting, descending vertically as I mentioned, and conveying a feminist message – but too small to be legible in this reproduction.)

Feminist Series: We Meet the Monster #12 of 20 by Faith Ringgold (1972)

A door had opened. From this point onwards, all of Ringgold’s work right up to the present day involves greater or lesser amounts of fabric.

A few years later (in 1974) she produced a series titled ‘Windows of the Wedding’, experiments with using the fabric surround of the tanka to frame purely abstract geometric shapes. In just a decade she’s come from the semi-Weimar satire on white people in America through to these multi-textured, abstract and fabric experiments. A hell of an odyssey.

Installation view of Faith Ringgold at Serpentine Galleries © 2019 Faith Ringgold. Photo by the author

Installation view of Faith Ringgold at Serpentine Galleries © 2019 Faith Ringgold. Photo by the author

The five examples of the series in the exhibition take up one wall and create a restful, if complicatedly decorative effect. But they appear to be quite unique in her oeuvre in being the only works on display here which do not depict the human face or figure. It was nice to sit and watch them for a while. Ringgold is known – perhaps over-known – for her black consciousness and feminist messages but I’m glad the curators showed that there is also this other, purely decorative side to her output.

In the final room we jump forward nearly 40 years to 2010, when she produced another series of tankas, each of these ones centring an iconic black figure, painted in a faux-naive style in the centre and surrounded with relevant text from a sermon or speech or text by the figure (too small to see in this photo).

Each portrait is embedded in a decorative arrangement of flowers, or just zoomorphic shapes, and this square it itself embedded in a luxurious velvet fabric which really makes you want to reach out and stroke them. As you can see each tanka is suspended from a green wooden rod at each end of which hangs a couple of golden tassels. Made me think of Muslim prayer mats or rugs… Certainly a tradition very different from Rembrandt in a gold frame.

From left to right, they are:

  • Coming To Jones Road Part 2: Martin Luther King Jnr Tanka #3 I Have A Dream (2010)
  • Coming To Jones Road Part 2: Sojourner Truth Tanka #2 Ain’t I A Woman (2010)
  • Coming To Jones Road Part 2: Harriet Tubman Tanka #1 Escape To Freedom (2010),

Installation view of Faith Ringgold at Serpentine Galleries © 2019 Faith Ringgold. Photo by the author

4. Quilts

And then there are the quilts. Melissa Blanchflower, the show’s curator, explained that Ringgold’s great, great grandmother Susie Shannon, who was born into slavery, was made to sew quilts for plantation owners. On the slave plantations slave women were often set to sew and create quilts for the master’s family. It was collaborative work, many women working on the same quilt. The quilts might bear all kinds of images, from Christian imagery, through to fairy tales or folk stories, as well as improving mottos. The women might also sew in coded messages.

The skill was passed down the female line of the family to Ringgold’s mother, who was a fashion designer, so that Faith grew up with the sight and smell and touch and shape of all kinds of fabrics, and a feel for what goes with what, what compliments, and what jars and offsets – for the world of effects which can be created by pre-designed fabrics.

The difference between the tankas and the quilts is that the former are designed to be hung while the latter end up being hung but can also be laid flat. The real innovation is in the use of the apparently passive ‘feminine’ format of the quilt for all kinds of vivid, angry and emotive social messages.

Take the emotive series titled ‘Slave Rape’. In this photo you can see:

  • Slave Rape #1 of 3: Fear Will Make You Weak (1973)
  • Slave Rape #2 of 3: Run You Might Get Away (1973)
  • Slave Rape #3 of 3: Fight To Save Your Life (1973)

Installation view of Faith Ringgold at Serpentine Galleries © 2019 Faith Ringgold. Photo: readsreads.info

If you described the subject and the figure’s facial attitudes and postures in words, your auditor might expect them to be dark and harrowing but, as you can see, they are brightly coloured, and the figures done in Ringgold’s characteristic faux-naive style are almost (I hate to say it) pretty.

Only the titles bespeak the atrocities they commemorate. And, after I’d looked at the human figures, and enjoyed their interplay with the jungle foliage around them, my eye tended to forget the ostensible subject matter and wandered off to enjoy the fabrics – the use of variegated fabrics in the surrounds, materials which could easily be offcuts of curtains or sofa coverings, but which, sewn together in subtle asymmetries, provide a pleasing counterpoint to the central narrative figures.

In later quilts Ringgold revived the use of texts from her poster days to weave together her personal stories and writings with the history of African Americans. ‘Who’s afraid of Aunt Jemima?’ from 1983 was her first ‘story quilt’, made up of alternating squares containing schoolgirl-style depictions of members of her family, and numbered squares of text, which tell the story of her early life.

Installation view of ‘Who’s afraid of Aunt Jemima?’ by Faith Ringgold at the Serpentine Galleries © 2019 Faith Ringgold. Photo: readsreads.info

There are half a dozen or so of these story quilts from the later 1980s and they combine a complex interplay of hand-written text with painted imagery, embedded in patchworks of fabric, to create a profound impact – a sophisticated, politically alert reworking of a time-honoured, and family tradition.

Works from the 1990s, such as the ‘American Collection’ series (with titles such as ‘We Came To America’ and ‘The Flag is Bleeding’ [the second image in this review, above] combine all the techniques she has mastered, to create images of greater violence and intensity. After the hope of the 1960s, life for many urban American blacks seems to have become steadily bleaker, more drug addicted and violent, and the experience of immigrants to America more fraught and dangerous.

And yet the same period saw the far more relaxed, vibrant and optimistic series ‘Jazz Stories: Mama Can Sing, Papa Can Blow’ (first image in this review).

Ringgold has reflected her times, and the rise and cultural spread of the two great social movements of black power and feminism over the past fifty years, but there is also – within her voice or brand or oeuvre – a surprising variety of tone and style.

Arriving back at the ‘American People’ series from the 1960s you are staggered at the journey she has been on, and by all the things she has seen and felt and expressed with such confidence and imagination. She did it her way. She did it with style. Inspiring.

Interview with Faith Ringgold

A conversation between Faith Ringgold and Serpentine Artistic Director Hans Ulrich Obrist.

In fact, being a grand old lady of American art means there are scads of videos about Faith Ringgold and many illuminating interviews with her.


Related links

  • Faith Ringgold continues at the Serpentine Gallery until 20 October 2019

Books by Faith Ringgold

She’s quite a prolific author, too.

More Serpentine Gallery reviews

Corita Kent: Power Up @ the House of Illustration

Corita Kent (1918 to 1886) was a nun, who began making personal, rather Expressionist prints with religious subjects in the 1950s, and then swiftly evolved in the early 1960s into a pioneering political print- and poster-maker. In 1968, under pressure from the revolutionary times and enjoying greater artistic and commercial success, she asked to be released from her vows, left her order, and became a fully commercial artist, continuing to make prints as personal statements, but also for a wide range of commercial clients, up to her death.

The House of Illustration has brought together some 70 large, colourful Corita Kent prints to create the largest ever show in the UK of this ‘pop artist, social activist and nun’.

The exhibition is bright, uplifting, thought-provoking and, as usual, divided between the gallery’s three exhibition rooms and small video room.

Introduction room

In 1936, aged 18, Frances Kent entered the Catholic Order of the Immaculate Heart of Mary and took the name of Sister Mary Corita. In 1951 she was introduced to the technique of print-making by Maria Sodi de Ramos Martinez.

The first room displays a handful of Kent’s early works, which are dark and stormy, every inch of the surface covered with often dark browns and blacks, amid which you can see outlines of primitivist or Byzantine images of Christ the King. Dark and troubled, packed and claustrophobic, they’re redolent of the Abstract Expressionism which dominated the American art world of the time.

As A Cedar of Lebanon by Corita Kent (1953)

As A Cedar of Lebanon by Corita Kent (1953)

In their murkiness they reminded me a bit of the art of Graham Sutherland, the presence of the religious imagery reminding me of Sutherland’s work for Coventry cathedral.

Within a few years Kent had begun to experiment by including handwritten text into the designs. The need to make the text legible meant she had to declutter the images though they are still, in this first room, a little scary, apocalyptic, done in drab austerity colours.

Christ and Mary by Corita Kent (1954)

Christ and Mary by Corita Kent (1954)

Main room

This first room is sort of interesting but it doesn’t prepare you at all for the impact of walking into the next space, the gallery’s main room – which features a riot of colour, an orgy of huge colourful prints and posters, showcasing a wide range of fonts and lettering set against vibrant dynamic colour designs.

Installation view of Corita Kent at the House of Illustration. Photo by the author

Installation view of Corita Kent at the House of Illustration. Photo by the author

It’s difficult to believe it’s the same artist. Out have gone the minutely detailed, busy and cramped designs, and in have come big white spaces used to emphasise the use of primary colours to bring out simple texts and slogans laid out in a dazzling variety of formats and designs.

Some of the prints still use religious texts from the Bible, but these are accompanied by slogans from protest movements, song lyrics, modernist poetry and lots of subtle or overt references to the signage and billboard adverts of Kent’s native Los Angeles.

There’s a sequence of searing prints protesting against the war in Vietnam and unashamedly using images lifted from magazines and newspapers, hard-core images of soldiers and war of the kind the American public was watching on their TVs every night from the mid-60s onwards, alongside images and slogans protesting against black segregation, celebrating the Civil Rights Movement, bitterly lamenting the assassination of Martin Luther King, and so on.

Where have all the flowers gone? by Corita Kent (1969)

Where have all the flowers gone? by Corita Kent (1969)

Everywhere you look are classic slogans from the long-haired, dope-smoking, flower power protests of the day. ‘Where have all the flowers gone?’ ‘Stop the bombing’. ‘Get with the action’. ‘Violence in Vietnam’. ‘Yellow submarine’. ‘Come Home, America’, and the slogan which gives the exhibition its title, the words POWER UP spread across four enormous prints. (Which, on closer reading, we discover was the slogan used by the Richfield Oil Corporation in their ads, and one of the many elements of signage in the cluttered visual landscape of her native Los Angeles).

Installation shot of Corita Kent at the House of Illustration. Photo by Paul Grover

Installation shot of Corita Kent at the House of Illustration. Photo by Paul Grover

It is an astonishing transformation, from the personal and cramped and expressive, to the public and political, big, bright and open, in half a decade.

One of the videos playing in the video room shows ancient footage of young men and woman dancing in circles and painting their faces and carrying all manner of props and decorations and art works, to and from the numerous ‘happenings’ which blossomed all over America.

Earnest young women in mini skirts, men in Grateful Dead sideburns, dancing and painting themselves, intercut with the usual footage of napalm over Vietnam, the assassination of Martin Luther King, and so on. It’s the ever-popular 1960s, the decade we can’t leave alone.

The exhibition feels like the poster and print accompaniment of that era, flower power, hippies, protest songs, the stormy later 1960s.

The Fraser Muggeridge studio

A word on the design and layout of the exhibition which is beautifully done by Fraser Muggeridge studio. They have very successfully replicated the super-bright, Pop Art colour palette of the original works without in any way over-awing them, which is quite a feat. The result is that the main and final room themselves take part in the exhibition’s vibrancy and dynamism.

At the end of the main room is a set of 26 prints, Circus Alphabet, from 1968, each one of which combines one of the letters from the alphabet done big, set against a fascinating variety of layouts, some simple, other cluttered with text, in a wide range of fonts. Reminded me of the imagery surrounding Sergeant Pepper’s Lonely Hearts Club Band and the song Being For the Benefit of Mr Kite.

Apparently, Kent was inspired by the poet e.e. cummings who was devoted to the institution of the American circus (‘damn everything but the circus’, he is quoted as writing), and the prints combine political texts with material she found at the Ringling Museum of the Circus in Sarasota, with images from A Handbook of Early Advertising Art, compiled by Clarence P. Hornung.

Circus Alphabet by Corita Kent (1968) Photo by Paul Grover

Circus Alphabet by Corita Kent (1968) Photo by Paul Grover

What fun! What a tremendous eye for layout and design. What an consistent thirst for innovation and experiment.

End room

The smaller final room is painted a deep azure blue. This space showcases work Kent produced after she asked to be released from her vows and left the convent in 1968. At which point she moved to Boston and became a fully commercial artist. Apparently, her sister became her business manager.

Installation view of Corita Kent at the House of Illustration. Photo by Paul Grover

Installation view of Corita Kent: Power Up at the House of Illustration. Photo by Paul Grover

The photo above captures pieces which demonstrate a new variety and style in her work.

At the bottom right you can see ‘our country is red spilled blood’ from 1970, a poster commissioned by the Vietnam Moratorium Committee to promote a three-day fast for peace and depicting a Vietnamese woman grieving over the body of her dead husband. (At the turn of the 60s, early 70s, a lot of the titles omit capital letters, another testament to the influence of the laureate of lower-case, e.e. cummings).

The wide, thin poster to the left of it uses the slogan, ‘Come home America’, the slogan used in the campaign of Democratic Presidential contender George McGovern during the 1972 presidential campaign.

Above it, the piece divided between blue on the left and orange on the right, is ‘the Ellsberg poster’ from 1972, containing a quote from US government analyst Daniel Ellsberg who decided to leak the Pentagon Papers to the press in 1971 (subject of the recent Stephen Spielberg movie, The Post). The quote reads: ‘Wouldn’t you go to jail if it would help end the war?’

The display case in this room shows a number of books Corita illustrated, including several by Catholic priests protesting against the war.

But it isn’t all political protest. The two works on the right hand wall in the photo above, are designs to accompany purely literary texts, by James Joyce (on the left) and Rainer Maria Rilke (the pink and orange one on the right).

You have a sense that Kent was exploring beyond the dayglo and sometimes rather baroque stylings of the 1960s (the Sergeant Pepper circus chic) into a more laid-back 1970s. I suppose low-key minimalism was coming in during this period to replace plastic Pop Art.

The work in this room all feels cooler. More understated. The Joyce and Rilke ones look like a cross between Mark Rothko and Matisse’s late paper cuts in their combination of bold colour with abstract patterning.

And I also realised that the texts in all the works in that photo are hand-written and in relatively small point sizes. You have to go right up to the Rilke piece to even realise there’s writing on it. This is a sharp contrast with the Circus works – which use an entertaining variety of ready-made, machine fonts in massive sizes – and with the other more political works: these had non-machine font, hand-cut-out texts and slogans, but they were enormous and simple. The works in this room feel more… intimate in scale and effect.

On the wall opposite is a montage of prints featuring quotes from classic authors, each one treated in interesting new ways, experimenting with fonts and layouts and colours and designs. These are ads commissioned by Group W Westinghouse Broadcasting, a TV station. Kent began working with them as early as 1962 and continued to produce magazine-page-sized ads until nearly the end of her career.

A wall of Corita Kent's work for Westinghouse Broadcasting. Photo by the author

A wall of Corita Kent’s work for Westinghouse Broadcasting. Photo by the author

The texts are fairly trite – worthy and high-minded quotes from Shakespeare or Dr Johnson or Thoreau – the kind of unimpeachable uplift any corporation could use to mask its commercial operations in spiritual guff (‘The noblest motive is the public good’). Taken together, I found they called into question the whole point of pithy slogans. Somehow the way she could turn her vivid imagination to souping up Shakespeare in order to promote a TV channel undermined the seriousness of the ‘political’ work. I could almost hear a stoned hippy saying ‘All artists sell out, man’. She was 52 at the dawn of the 1970s. ‘Don’t trust anyone over 30, man.’

Content aside, what impresses is the way Kent produces such a wonderful variety of fonts, designs and layouts in which to set the text, and yet still manages to retain a visual unity and identifiable style. No wonder Westinghouse stuck with her for nearly 20 years.

IBM

The whole final wall is a blow-up of a magazine advert for computer manufacturer Digital. They commissioned Kent to create three suites of screen-printed decorative panels for Digital’s range of desks and computer cabinets. You see the blue and green wash panels at the end of the guy’s desk, on the side of the filing cabinet? That’s Kent’s design. This was in 1978, ten years after the heady year of the King assassination, the Democratic convention riots and all the rest of it. Her designs no longer hope to change the world but to beautify its everyday element. ‘Sold out to the man, baby.’

Advert for Digital computers by Corita Kent

Advert for Digital computers by Corita Kent

Videos

In one of the two videos running in a loop in the small projection room (a spot of googling shows that there are quite a few films about Kent and extended interviews and documentaries), Kent is quoted saying something very interesting about the interaction of text and design. She relates it right back to the work of medieval copyists and the unknown monks who produced the extravagant decorations of illuminated manuscripts (of the kind to be seen at the British Library’s brilliant Anglo-Saxon Kingdoms exhibition).

As she puts it, from those early textual illustrators right up to the times of her and her peers, there is some kind of joy and delight in the way colour and pattern brings out additional meanings latent in texts, and words crystallise and empower what would otherwise be abstract colours and designs.

For some reason, no doubt to do with the wiring of the human brain and the way we separately register colour and meaning, the power and variety of interplay between the two systems can often be extremely powerful and, as her work goes to prove, seems to be never-ending.

In my ignorance I’d never heard of Corita Kent. This is a wonderful – and wonderfully designed and laid out – introduction to the development and variety and life-affirming positivity of this scintillating artist.


Related links

More House of Illustration reviews

Some problems with Isaac Asimov’s science fiction

Americocentric

It is Americocentric. There are no other countries worth troubling with on earth. Whether ‘man’ reaches out to colonise the planets, to settle on Mars or Mercury, invents hyperspace and travels to colonise distant planets, or stays at home to create the megacities of Caves of Steel – it’s Americans who do it, with American technology, and American culture.

And the home city is always New York: in the final story of I, Robot, it is New York which becomes seat of the new World Government and the World Co-Ordinator is, of course, American, as are the inventors of robots, and the hyper-drive, and anything else worthwhile that mankind comes up with. 3,000 years later, after billions of people have left earth to colonise the Outer Worlds, detective Elijah Baley lives in New York.

Everyone speaks English

With the result that everyone speaks English. It is one of the many ludicrous elements you have to overcome in order to read the Foundation trilogy, that 12,000 years in the future, and inhabiting planets scattered right across the inconceivable distances of the Galaxy – everyone speaks English. There’s a slight gesture towards reality, in that some of the humans on the more remote planets have an accent which is a bit hard for others to understand. But it’s always, everywhere, basically English that is spoken.

Planets become provinces

I can’t quite define it, but it’s the way all his (and other golden age writers’) universes consist of planets which just do one thing and are treated, in effect, like real-world people treat regions of their countries.

Thus a planet in the Foundation books is a ‘holiday planet’, as if one whole planet were made of beaches and cocktail bars. Another planet just supplies raw materials, in The Naked Sun Solaria is the planet with most advanced robotics. And that’s it. That’s what it does.

Planets – entire planets – are conceived of as one-trick ponies, which do just the one thing. Completely ignoring the evidence we have about the only planet where we know life exists – our own one – that planets are astonishingly diverse, in climates, life forms and so on.

It is a profoundly dumb way of thinking about planets. As if each one is a toy in a childish game. It is an example of the way Asimov and other Golden Age writers dismiss or ignore the mind-boggling diversity of life on our own planet. In Asimov’s fiction planet earth is reduced to American men arguing in rooms. It follows that his view of the entire galaxy is the same, but extrapolated to many more rooms.

It is this reductive gesture which makes so many of the planets in the Foundation stories end up sounding the same. They may be given a paragraph or so of cursory description – but they all have earth-type gravity and air, no radiation or dangerous environmental elements of any kind. They’re just variations of the same kind of futuristic room where Elijah Baley ends up meeting and arguing with people, or the protagonists of the Foundation stories end up meeting and arguing with people. In American.

A human-only universe

This imaginative reductionism is related to the way that there appears to be no other life in the galaxy.

Humans colonise all the other planets, and then hypertravel off to other star systems, and end up colonising pretty much every other planet in the galaxy and yet – encounter no other significant life forms.

It’s not only that this is unlikely (although it’s all completely unlikely). More to the point, it is extravagantly boring. It means that all Asimov’s fiction is about people, the same kind of people, a certain type of calculating adult, calculating the same kinds of odds and trying to figure out whodunnit.

They’re all detective stories

All the Foundation stories and the Elijah Baley stories are, in a sense, whodunnits. The Baley ones, obviously since he is a detective investigating murders. The Foundation ones in a more roundabout sense. In every Foundation story there is a dilemma or threat. Individual or group X think the best way to solve it is by doing Y. But the hero (or heroine) of each story knows better and all the stories end the same way: the secret of what really happened is revealed right at the end. So although they’re not overtly detective stories, they have a similar structure: dilemma – fake leads and red herrings – revelation of the true solution or meaning of events.

Simplistic politics

Having painted a childishly simplistic vision of a galaxy in which each planet does just one thing, in which there are no aliens to disrupt his whodunnits, Asimov only incorporates the most simplistic and child’s-eye version of ‘politics’ as is required to drive the stories.

If there are ‘political’ movements, they are a) perfectly understandable and b) perfectly rational and c) childishly simple.

Thus in The Caves of Steel there is a ‘party’ – the ‘Medievalists’ – which wishes to return humans to a simpler, earlier time. That’s it. There don’t appear to be any other political parties in America, there’s no mention of elections, with the vast amount of corruption and bullshit they usually throw up, let alone of the notion that there are different countries who might be economic or military rivals (as we know there have been throughout all human history).

No – magically, the entire world of national and international politics disappears with a wave of the magic wand, leaving behind just enough of a child’s cartoon version of ‘politics’ (a secret society who want to turn the clock back – about as sophisticated as the League of Red-Haired Men in Sherlock Holmes) as is required for make the hokey storyline.

Pretty much the same ‘party’ – really a conspiracy – appears in the final story if I, Robot where it is the Society for Humanity which opposes the rise of the robots.

Any other notion that people might disagree about fundamental principles of how to run the economy, how to redistribute wealth, whether to allow unchecked capitalism or moderate it or try and implement some kind of state economy, the usual nationalist, xenophobic and populist motivations for politics which we all know from the real world – gone, vanished, evaporated, cleansed – just like other nations or other languages.

Economics

Similarly, Asimov’s take on economics is raw materials are needed for factories on earth. That’s about it. The earth of The Caves of Steel is rigidly hierarchical but we don’t really get to see anyone at work except the police (we do meet a worker in a nuclear plant and the staff of a shop where an anti-robot riot nearly breaks out) and these police could come out of a Raymond Chandler novel or any of the thousands of other contemporary cop thrillers.

Real economics involves the continuously evolving exploitation of raw materials, and siting and building of factories, and the training of workforces to supply technologies which are constantly being invented solely to make money. America has been the world’s leading capitalist economy and society for at least a century. It is extraordinary that Asimov, for all his supposed intelligence, is blind to the disruptive energies of capitalism which always lead, everywhere, to the provision of a high standard of living for many, maybe a majority of a capitalist population, but also always involve low wages, unemployment and – a cardinal fact of untrammeled capitalism – the cycle of boom and bust, with periodic crashes leading to deep depressions every ten years or so.

In the real world it is difficult even to organise the workers in a particular industry to join together to take industrial action or bargain for better pay. In Asimov’s world entire planets truck along quite happily producing raw materials or being vacation planets, with no sense of struggle or exploitation or grievance or class or racial conflict.

All the things which we know absolutely dog the actual world – are excluded from his stories.

Wars

Similarly, real world wars break out for complex reasons and, once started, tend to develop a dynamic of their own and become very difficult to end.

As you might expect by now, wars in Asimov’s fiction are the opposite, as simply motivated and easily ended as his paper-thin notion of politics. Some of the Foundation wars do start for the time-honoured motivation that strong planets see an opportunity to conquer weak ones – but they are nearly always started by specific named individuals who, when we meet them, are portrayed as pantomime baddies.

I’m thinking of the story, The Mayors, in which the planet Anacreon is ruled by Prince Regent Wienis, who rubs his hand and cackles like a pantomime villain or Ming the Merciless, while bullying his whiney teenaged nephew, King Lepold I. It only takes Salvor Hardin to pull off a few tricks (he’s bugged the Anacreon fleet and also manages to turn off all power in Anacreon’s capital city) to overcome Wienis and the threatened war to end as quickly as it began.

My point is that, in the real world, wars are often supported by entire populations which have been whipped up top expect them – as all Europe expected World War One, as the Nazis whipped up the Germans or the Japanese military leaders organised their entire society for war. In Asimov’s fairy tales, the goody only has to eliminate the cackling baddy and the rest of the population instantly returns to being reasonable and peace-loving. Exactly the opposite of reality.

Women

It’s to Asimov’s credit that he gives a leading role to Bayta Darell, who grasps what is going on quicker than her husband in The Mule, and to her grand-daughter, 14-year-old Arcadia Darell, in Search By the Foundation, that Elijah Baley’s wife, Jessie, plays some role in The Caves of Steel and Gladia Delmarre plays the lead, a somewhat stereotyped romantic lead, in The Naked Sun. And not forgetting the way he places Dr Susan Calvin centre stage for the linked stories that make up I, Robot.

Still, Asimov’s failure to anticipate women’s lib and feminism is a good example of the way that, while he and his fans had their eyes fixed on the stars, real and profound social changes were transforming human relationships here on earth (in the West, at any rate) in a matter of just a few decades.

I’m not blaming him for failing to anticipate specific social changes: I’m pointing out that his fictions envisage basically unchanged social relationships stretching for thousands of years into the future and how profoundly misleading a view of human nature that is.

Race

Ditto race. In The Naked Sun the humans refer to the fleets of robots which do all the hard work as ‘boy’. Now this is the offensive, abusive term which white Americans used to blacks from the Reconstruction period onwards, and reached horrible aggressiveness as a backlash to the Civil Rights Movement of the 1960s.

Asimov couldn’t anticipate that only a decade or so after he was writing, America was to be seriously divided by the rise of the Civil Rights Movement and then the assassination of Martin Luther King, of Malcolm X, the Black Panthers and so on.

But that’s the point. While Asimov was extrapolating his neat and tidy Three Laws of Robotics, and anticipated them being carried 100, 3,000 and 12,000 years into the future by white English-speaking, Americans – meanwhile, around him, through the 1950s into the 1960s, the real world descended into a messy chaos.

Summary

This is why so many adult readers, writers and critics were, and are, able to dismiss and ignore most science fiction – it’s because science fiction itself simply excludes and ignores almost everything which makes up the actual world we live in, with all its difficulties and complexities and challenges and, by extension, its rewards and interest.


Reviews of books by Isaac Asimov

1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny

1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire

1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces down attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’

1953 Second Foundation by Isaac Asimov – concluding part of the ‘trilogy’ describing the attempt to preserve civilisation after the collapse of the Galactic Empire

1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery

1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria

A Nation Without Borders: The United States and Its World in an Age of Civil Wars, 1830-1910 by Steven Hahn (2016)

My thinking about the concept of borderlands has been influenced by a growing body of literature interested in exploring the liminal spaces in which social relations, cultures and claims to sovereign authority make contact, struggle, and reshape one another. (p.525)

Executive summary

This is a long, turgid and demanding book. Plenty of times I nearly gave up reading it in disgust. If you want to find out what happened in America between about 1820 and 1865, read James McPherson’s outstanding volume, Battle Cry of Freedom. For the period from 1965 to 1910 I currently can’t recommend an alternative, but they must be out there in their hundreds.

Two types of history

There are probably countless ‘types’ of history book but, for the purposes of this review, they can be narrowed down to two types. One type provides a more or less detailed chronology of events laid out in sequence, with portraits of key players and plenty of backup information such as quotes from relevant documents – government paperwork, constitutions, manifestos, speeches, newspaper articles, diaries, letters – alongside photos, maps, graphics and diagrams explaining social or economic trends, and so on. You are bombarded with information, from which you can pick the main threads and choose the details which most inspire you.

The other type is what you could call meta-history, a type of history book which assumes that the reader is already familiar with the period under discussion – the people, dates and events – and proceeds to ask questions, propose new theories and put forward new interpretations of it.

Since this kind of book assumes that you are already familiar with the key events, people and places of the era, it won’t bother with biographical sketches, maps or photos – you know all that already – but will focus solely on laying out new ideas and interpretations.

A Nation Without Borders: The United States and Its World in an Age of Civil Wars, 1830-1910 by Steven Hahn is very much the second type of history. If you want to find out what happened in America between 1830 and 1910, with maps, pictures, diagrams etc – this is not the book for you. There are no maps at all. There are no pictures. There are no diagrams. Sure there’s still a lot of information, but what there mostly is, is lots of ‘reinterpretations’.

Reinterpretations

In the first paragraph of the introduction Hahn declares his intention to tell ‘a familiar story in an unfamiliar way’, and the front and back of his book are plastered with quotes from high-end journalists and fellow academics confirming that this is indeed what he has achieved – praising his achievement in ‘reconceptualising’ and ‘rethinking’ this crucial period in American history.

  • ‘a forthright challenge to old stereotypes’
  • ‘subtle and original conceptualisation’
  • ‘not a typical chronological survey of American history’
  • ‘conceptually challenging’
  • ‘breathtakingly original’
  • ‘a bold reinterpretation of the American nineteenth century’
  • ‘an ambitious rethinking of our history’

What this means in practice is spelled out in the introduction, where Hahn announces that:

  • Traditional history teaches that the United States started as a nation and turned into an empire. Hahn seeks to prove the reverse: to show that the United States inherited an imperial mindset from imperial Britain, with a weak centre only loosely ruling a far-flung collection of autonomous states, and was only slowly struggling to become ‘a nation’, until the War of the Rebellion. The war gave the ruling Republican Party unprecedented power to pass a welter of centralising legislation which for the first time made America a ‘nation’. In this respect it was comparable to Italy and Germany which only became unified nations at much the same time (the 1860s) and also as a result of wars.
  • Traditional history teaches that America was divided into a slave-free North and a slave-based South. Hahn insists that slavery was ubiquitous across the nation, with some of the fiercest anti-black violence taking place in New York, and that the principle struggle wasn’t between North and South but between the North-East and the Mississippi Valley for control of the new country and, possibly, of the entire hemisphere. A recurring thread of the first half is the way that southern slavers seriously envisaged conquering all of Mexico and Central America and the available Caribbean islands to create a vast slave-owning empire in which the ‘slave-free’ north-east would be reduced to a geographic stump.
  • Traditional history teaches that America is an exception to the rest of world history, a shining light on a hill. Recent decades have overthrown that view to show just how deeply involved America was with trade, exploration and slavery back and forth across the Atlantic (this is also the thrust of Alan Taylor’s brilliant account of early America, American Colonies). However, Hahn wants to overthrow not only American exceptionalism but even this newer, Atlantic, theory – he wants to shift the focus towards the Pacific, claiming that many key decisions of the period don’t make sense unless you realise that politicians of both free and slave states were looking for decisive control of the vast Californian coast in order to push on into Pacific trade with Asia.
  • Traditional history teaches that there was a civil war in American from 1861 to 1865. Hahn prefers to call this epic conflict ‘the War of the Rebellion’ – partly because the war was indeed prompted by the rebellion of the slave states, but also in order to place it among a whole host of other ‘rebellions’ of the period e.g. the Seminole War of the 1840s, the refusal of the Mormons to accept federal power in their state of Utah, the wish of some Texans to remain an independent state, the attempts by southern filibusters (the Yankee name for buccaneering adventurers) to invade Cuba and Nicaragua in defiance of federal law, numerous native American uprisings, and countless small rebellions by black slaves against their masters. Instead of being the era of One Big War, Hahn is trying to rethink the mid-nineteenth century as the era of almost constant ‘rebellions’, large and small, by southerners, by native Americans, by newly organising workers everywhere, by the Mormons, by women – against the federal government.
  • Traditional history teaches that capitalism spread across America from its East coast, which was deeply interconnected with the global capitalist economy pioneered by Britain. Hahn seeks to show that there were all kinds of regional resistances to this transformation – the South was committed to a slave economy which limited the growth of markets and industrialisation; the whole mid-West of the country was occupied by native Americans who had completely different values and means of production and exchange from the Europeans; much of newly-settled West preferred small local market economies, virtually barter economies, to the cash-based capitalism of the East.
  • Probably the biggest single idea in the book is that the Republican triumph in the War of the Rebellion went hand in hand with the triumph of a centralised capitalist nation-state. But the latter part of the book goes on to insist that, even after its apparent triumph, capitalism continued to face a welter of opposition from numerous sources, from the disobedience of the defeated South, from western cowboy economies, through to resistance from highly urbanised Socialist and trade union movements – ‘the United States had the most violent labour history of any society in the industrialising world’ in the 1880s and 1890s.

Put this succinctly, these are certainly interesting and stimulating ideas. If only they had been developed in an interesting and stimulating way in interesting and stimulating prose which included interesting and stimulating facts.

But too often the ‘ideas’ dominate at the expense of the evidence and the basic information. Too often Hahn argues the points in prose which is so muddy, and with snippets of information or quotes handled so unpersuasively, or in such an obviously selective, cherry-picking way, that the reader has the permanent sense of missing out on the actual history, while ploughing through the interpretation. Take the new terms he coins:

New Terms

Most people in the world refer to the conflict between the Union and the Confederacy between 1861 and 1865 as the American Civil War. Hahn’s attempt to ‘reconceptualise’ it and refer to it throughout as ‘the War of the Rebellion’ has a sort of appeal, especially if you can keep in mind the cohort of other rebellions he sees as surrounding it and feeding into it. But put the book down and start talking or writing to anyone else in the world and…they will be deeply puzzled. It will require quite a lot of explanation to convey why you’re using a different name from the rest of the world… and all the while you have the strong sense that it will never catch on…

To give another example: America saw rapid economic change in the 1830s and 1840s, as scattered farmsteads and distant agricultural regions began to be connected, first by canals and, in the 1840s, by railways. Raw materials and goods could be traded further than just the local market. Eastern investors became interested in money-making possibilities. Traditionally, this period has been referred to as ‘the market revolution‘. Characteristically, Hahn prefers to give it a different name, referring throughout to ‘market intensification‘.

He does this partly because – at this late date – there is, apparently, still widespread disagreement among historians about when the American industrial revolution began: was it the 1830s or 40s or 50s? Something was definitely changing about the scale of agricultural and semi-industrial production from the 1830s onwards – Hahn is suggesting a new term designed to more accurately convey the way existing structures of production and distribution didn’t fundamentally change, but became larger in scale and more linked up. More intensified.

It’s an interesting idea but it’s quite subtle and I felt a) it requires more evidence and information to really back it up than he provides, and b) I don’t, in the end, really care that much what it’s called: I’d just like to have understood it better.

Show or Tell

You could also think of think of the two types of history book I referred to earlier as ones which show, and ones which tell. James M. McPherson’s brilliant account of the civil war shows. He gives you all the facts, and the people, and quotes extensively from a wide range of sources. There are numerous maps, especially of all the key civil war battles, there are photographs which give you a strong feel for the era, there are diagrams and above all there are really extensive quotations from letters, speeches, articles and so on, so that you can read about the issues in the words of the people who were debating and arguing them.

As a result, McPherson’s account is rich and varied and highly memorable. You remember the people and what they did and said and achieved. As you follow his intricate account of the war, complete with maps and detailed descriptions of each battle, you get a real sense of what was at stake and how contingent human affairs are.

Hahn tells

By contrast, Hahn tells you what happened, with no reference to maps, no graphs or photographs, with minimum quotations. For example, he doesn’t give a single account of a civil war battle, and certainly no maps of them. All the evidence is subsumed to the need to make his case and put forward his theories.

But the risk of writing history in such a theory-heavy way is that your account might end up being more about yourself and your theories, than about the ‘history’; that you spend ages asking academic type questions…

What was the character of American governance? On what axes did American politics turn? How far did slavery’s reach extend, and what was its relation to American economic and political growth? How did the intensifying conflict over slavery turn into civil warfare, and in what ways did civil warfare transform the country? How integral was political violence and conquest to American development? How were relations of class, race and gender constructed, and what did they contribute to the dynamics of change? When did American industrialisation commence, and how rapidly did it unfold? How should we view popular radicalism of the late nineteenth century and its relationship to Progressivism? At what point could the United States be regarded as an empire, and how was empire constituted? (p.2)

… in order to devote the rest of the book to answering them in a similarly abstract, academic kind of way.

To give an example of the triumph of theory over detail, Hahn is heavily into modern identity politics and goes out of his way to discuss the history of women and of people of colour using the latest up-to-date sociological jargon.

Thus Hahn tells us that the nineteenth century family was a ‘patriarchal institution’ ruled by the ‘patriarchal father’ or the ‘patriarchal husband’. He explains that 19th century American society was profoundly ‘gendered’ (a favourite word of his), a society in which people have defined themselves by ‘gender stereotypes’, where people carried out ‘gendered divisions of labour’, according to ‘gendered norms’ and ‘gender conventions’ and ‘gender exclusions’. The more aggressive leaders of the era, such as presidents Andrew Jackson and Theodor Roosevelt, are both accused of ‘masculinism’.

Similarly, Hahn loses no opportunity to tell us the big news that Southern slaveowners and their newspapers and politicians often expressed ‘racist ideas’ and ‘racist conventions’ and ‘racist stereotypes’ in ‘racist’ language.

The thing is – this is not really news. It is not that useful to be told that 19th century American society was sexist and racist. The use of the latest terminology can’t hide the fact that this is pretty obvious stuff. Not only that, but it is deeply uninformative stuff.

Instead of giving specific, useful and memorable examples of the kind of behaviour he is deploring, there tend to be pages of the same, generalising, identity politics jargon.

Part of his attempt to overturn ‘received opinion’ is to attack the notion that slaves were the passive recipients of aid and help from well-meaning white abolitionists. Wherever he can, Hahn goes out of his way to show that it was the blacks themselves who organised resistance to slave-hunters, set up communications networks, who were aware of the political implications of the outbreak of the War of the Rebellion, who organised themselves into groups to flee their southern masters and make for the Union front line then, later, after the war, continued the struggle for equality, organised themselves into networks and groups at local and regional level, and won significant political and administrative posts across the South, before, eventually, an anti-black backlash set in during the 1870s.

In a similar spirit (that marginalised people weren’t passive victims but strong independent people with their own agency who have all-too-often been written out of the story but whose voices he is now going to  bravely present) Hahn refers a number of times to women organising as much political activity as they were then allowed to do, taking on domestic and cultural responsibilities, organising a Women’s Convention in 1848, campaigning for women’s suffrage throughout the later part of the century, fighting for admission to teaching and the professions, and so on.

Well and good, and interesting, in outline – but the way Hahn tells these stories is highly generalised, draped in politically correct phraseology, rather than illuminated by specific stories or incidents which really bring them to life.

McPherson shows

By contrast, McPherson shows us these forces in action. He devotes pages to giving the names and stories of specific women who helped transform the perception of women’s abilities. These include the passages he devotes to the role of nurses during the war, and as workers in key industries depleted of men because of the draft.

I was fascinated by his description of the way that, in the pre-war period, the movement of women from being cottage industry producers to the heads of nuclear households in which the male now went out to earn a wage, represented a big step up in power and autonomy for women. Interesting, because so counter-intuitive.

McPherson shows the important role of women in the 1840s in creating a new market for consumer goods, which made America a pioneer in all sorts of household conveniences for the next century or more.

McPherson devotes a passage to Harriet Beecher Stowe, author of the bestselling novel of the 19th century, Uncle Tom’s Cabin.

I was struck by McPherson’s account of how women, in the 1830s and 40s began their dominance of the teaching profession, which has never gone away (in 2017 77% of teachers in the USA were female). The conference to launch the women’s rights movement which Hahn gives one brief mention, McPherson devotes three pages to, with accounts of the women who organised it, and the debates it held (pp. 33-36).

Later on, McPherson has a section about medicine and nursing during the war where, in a nutshell, certain strong-willed women followed the example of Florence Nightingale and set up nursing homes and went into the field as nurses. These women nurses and organisers impressed the male medical establishment, the army and the politicians so much that it made many men revise their opinion of women’s toughness. Notable pioneers included Clara Barton and Mary-Anne Bickerdyke (p.483) and Elizabeth Blackwell who, in 1849, became the first American woman to earn an MD.

The same went for factories and agriculture, especially in the North, where women were called in to replace men drafted into the army, and permanently expanded cultural norms about what women were capable of. (pp.477-489)

All this is in the McPherson. You can see how it is all immediately more interesting, more enlightening, and more useful knowledge than any number of references to ‘gender stereotypes’, ‘gendered divisions of labour’, ‘gendered norms’, ‘gender conventions’ and ‘gender exclusions’.

And if you are a feminist or interested in what women did during this period, it is far more useful and empowering to be given specific names and events and stories, which you can then go and research further yourself, than bland generalisations. Being given the name and career of Mary-Anne Bickerdyke is more useful than being given another paragraph about ‘gender conventions’.

Other problems with the book

1. Poor style

Hahn’s prose style is awful. Pages go by full of anthropological and sociological jargon and utterly bereft of a single fact or name. Take this excerpt:

Although patrons expected favours and services from their office-holding clients, they had their own needs as well. Their power and prestige were enhanced by – often required – collections of followers who could offer loyalty, votes, skills, and readiness to intimidate foes, but all this came at the price of the rewards patrons had to make available: protection, work, credit, loans, assistance in times of trouble. (p.63)

Of what organised society is this not true? It could be describing power relations in ancient Rome, or Shogun Japan, or among the Aztecs.

Orotund Hahn’s core style is orotund American academese which combines:

  • preferring pompous to simple words
  • clichés
  • identity politics jargon

Pompous locutions Favourite words include ‘deem’ instead of ‘think’, and ‘avail’ instead of ‘take advantage of’ or just ‘use’. Hahn is particularly fond of ‘contested spaces’: America in the 19th century was thronged with ‘contested spaces’ and ‘contested narratives’ and ‘contested meanings’. All sorts of social forces ‘roil’ or are ‘roiled’. When he quotes speeches the speakers are always said to ‘intone’ the words. People never do something as a result of an event or development; he always say ‘thereby’ some great change took place.

Hahn has a habit of starting a sentence, then having second thoughts and inserting a long parenthesis before going on to finish the sentence – often combining two contradictory thoughts or ideas in one sentence, which forces you to stop and mentally disentangle them.

Cliché Given his bang up-to-date usage of latest PC jargon, it is a surprise that Hahn combines this with a fondness for really crass clichés. For example, early on tells us that General Antonio Lopez de Santa Anna initially supported the setting up of a monarchy in Mexico, then:

in a veritable flash, he sided with the liberals and constitutionalists

‘In a veritable flash’. a) That’s not very impressive English and b) it’s rather poor as historical explanation. Instead of serious analysis of Santa Anna’s motives for this (apparently sudden) change of mind, he is treated like a character in a fairy story. Hahn’s sense of human psychology is often disappointingly shallow. On the same page we are told that:

Santa Anna was haughty, temperamental, and guided chiefly by personal ambitions for power and adulation.

A political leader guided by a personal ambition for power. Fancy that. On page 24:

Napoleon, in his audacity, planned to reverse the wheels of history.

On page 29, President Andrew Jackson (who served for two terms, 1829 to 1837, and I think is seen as a bogeyman by liberals because he aggressively opened up the West to expansion by the slave states and capitalists, though it’s difficult to tell from Hahn’s book) is quoted in order to demonstrate the amorality of his expansionist vision:

‘I assure you,’ he boasted to the secretary of war, his imperial hunger not yet satisfied, ‘Cuba will be ours in a day.’

‘His imperial hunger not yet satisfied’. He sounds like a character in a fairy tale. Instead of stopping to convincingly explain to the reader why Jackson was such a Bad Bad Wolf, Hahn writes sentences like this about him:

In 1828, in an election that empowered white settlers west of the Appalachians and especially in the South, Andrew Jackson won the presidency, and the bell of doom began to toll.

Ah, ‘the bell of doom’. That well-known tool of historical analysis. What is he talking about?

The spread of the abolitionist movement in the 1830s prompted pro-slavery counter-attacks on black churches or schools:

as the fires of hatred were fanned to a searing heat. (p.61)

Ah, the fires of hatred. Half a dozen times ‘the writing is on the wall’ for this or that person or movement. Indians, or blacks, or women, or strikers ‘throw themselves into the fight against’ the army or Southern racism or the patriarchy or capitalism. Oppositions ‘dig in their heels’ against governments.

Wrong usage Not only does he use surprisingly banal clichés, but Hahn is continually verging in the edge of ‘malapropism’, defined as: ‘the mistaken use of a word in place of a similar-sounding one, often with an amusing effect’. Here is a paragraph of Hahn which seems to me to combine cliché with phrases where he’s using words with slightly the wrong meaning.

Nearly one quarter of Santa Anna’s troops fell at the Alamo… and the slaughters he authorised there and at Goliad touched a raw nerve of vengeance among those left to keep the Texas rebellion alive. Believing that he verged on total victory, Santa Anna planned a multi-pronged attack on Houston and divided his army to carry it out. But the winds of fortune (in this case a captured courier) enabled Houston to learn of Santa Anna’s moves… (p.41)

‘He verged on total victory’ – can a person verge on anything? I thought only nouns could ‘verge on’ something, like the example given in an online dictionary: ‘a country on the verge of destruction’. Maybe this is correct American usage, but it sounds to me like an example of malapropism, something which sounds almost correct but is somehow, subtly, comically, wrong.

Elsewhere I was brought up short when I read that:

The militant posture on the Oregon question helped the democrats and their candidate, James P. Polk from Tennessee… eke out a tight election. (p.122)

The dictionary definition of ‘eke out’ is ‘to make (a living) or support (existence) laboriously’. Can it be applied to narrowly winning an election?

As for ‘the winds of fortune’ in the Santa Anna paragraph, that is just an awful cliché, isn’t it? Surely any historian – any writer – who uses phrases like ‘the winds of fortune’ or ‘the wheels of history’ or ‘the bell of doom’ or ‘the fires of hatred’ to explain anything, can’t be taken completely seriously.

2. Glossing over key events

Whereas McPherson dedicates a section of his book to a particular event, explains what led up to it, explains who the people were, gives extensive quotes explaining what they thought or planned to do, and then gives thorough descriptions of what happened – Hahn more often than not asks a sociological or anthropological question and then answers his own question at great length, only incorporating the subset of facts, events, people or quotes which suit his argument.

With the result that the book gives a very strong feeling that is it skipping over and omitting whole chunks of history because they don’t suit his agenda.

To give an example, early on in the book there are a couple of fleeting references to ‘the Alamo’. They come in the context of his discussion of the independence of Texas. Texas was initially a vast state or department of Mexico: the Mexicans invited or allowed American settlers to settle bits of it. Eventually these settlers decided they wanted to declare it a white American state. They were strongly encouraged by slave plantation owners in the Deep South who hoped they could export slavery to Texas.

Now this aim was itself only part of the wider ‘imperial’ aims of Southern slave owners who, in the 1830s and 1840s, envisioned creating a vast slave empire which stretched through Texas to the whole of California in the West, which would reach out to conquer Cuba for America, and which also would take control of some, or all, of Central America.

In this context, some notable American cowboys and adventurers took control of the Alamo and, when a Mexican army surrounded it, insisted on holding out till it was finally taken and everyone killed. From a macro perspective it was just one of the numerous clashes between American rebels and Mexican army from the period.

The point of explaining all this is that I know that The Alamo is part of American frontier legend. I know there’s an expression: ‘Remember the Alamo!’ I know a big Hollywood movie was made about it starring John Wayne. I hoped that, by reading this book, I would discover just why it’s so important in American folk mythology, what happened, who Jim Boone and the other ‘heroes’ of the Alamo were, and so on. I’m perfectly prepared to have the whole Hollywood ‘myth’ of the Alamo debunked, and to learn all kinds of squalid or disillusioning things about it, but I wanted to know more.

Not in this book I didn’t. I didn’t even get the debunking option. Instead Hahn more or less ignores ‘the Alamo’ because his focus in that particular chapter is on ‘reconceptualising’ that part of American history in terms of his broad meta-theme – the imperial fantasies of the southern slave-owners.

To find out more about the Alamo, I had to look it up online. Just like I ended up googling ‘the Comancheria’, ‘the Indian Wars’, the ‘robber barons’ and ‘Reconstruction’.

The entire era from the 1870s to about 1900 in America is often referred to as ‘the Gilded Age’ (because really rich Americans began to ape the houses and lifestyles of aristocratic Europe) but Hahn uses this phrase only once, in passing, only at the very end of the book, and doesn’t explain it. So once again I had to go off to the internet to really learn about the period.

Reading the book for information is an intensely frustrating experience.

3. No maps

The history of the United States in the 19th century is the story of its relentless geographical expansion – westwards across the continent, taking whatever territory it could by force, seizing Florida from Spain, seizing Texas and California from Mexico (in the 1846 Mexico War), doing its damnedest to conquer Canada but being held at bay by the British (in the war of 1812) – attempting to conquer islands in the Caribbean such as Cuba (in the 1850s), and stretching the long arm of its empire across the Pacific to seize little Hawaii in the 1870s, even creating a short-lived American regime in Nicaragua (in 1856-7).

To understand any of this at all – to see what was at stake, where places were, the route of invasions, the site of battles and so on – you need maps, lots of maps, but – THIS BOOK HAS NO MAPS.

Whoever took the decision not to commission clear, relevant, modern maps deeply damaged the usefulness of this book. In just the first fifty pages, Hahn describes the extent of Commanche land, the shape of 1830s Mexico, discusses the status of East and West Florida, describes the debates about the precise territory included in the Louisiana Purchase of 1803, follows the march of Mexican General Santa Anna to locations in East Texas. WITH NO MAPS.

So, in order to understand any of these discussions, and any of the hundreds of discussions of geographical issues, places, conflicts packed throughout the book – you need to have an Atlas handy or, better still, read the book with a laptop or tablet next to you, so you can Google the maps of where he’s talking about.

In fact, on page 33 I discovered that the book does contain maps, but that they are poor-quality reproductions of contemporary nineteenth-century maps which are, for all intents and purposes, impossible to read. Take this example, ‘A Map of North America by Palairet’, which doesn’t even give you a date. The print is so tiny you can’t make out a single place name except ATLANTIC OCEAN.

Map of North America by J. Palairet

Map of North America by J. Palairet

I’m not often moved to get on a high horse about anything, but this is disgraceful. This volume is part of Penguin’s multi-volume history of the United States. It was published in 2016. It’s meant at some level to be a definitive history of the period. The decision not to commission a single clear modern map, and not to use any contemporary photographs, or diagrams or graphs, is inexcusable.

Here’s another example, Bacon’s Military Map of America from 1862, showing America’s ports and fortifications. Can you read any of the place names? No. Can you see any of the ports and fortifications? No. Is this map of any use whatsoever? No. It’s a token gesture, and almost an insulting one at that.

Bacon's Military Map of America, 1862

Bacon’s Military Map of America, 1862

Part two 1865-1910

I’ve read several accounts of the civil war but know next to nothing about the period which followed it. That’s why I bought this book and I certainly learned a lot, though all the time having to struggle through a) Hahn’s unfriendly prose style b) with the constant feeling that I wasn’t being told the full story of events but only what Hahn wanted to tell me in order to make his points with and c) without any maps, diagrams of photographs to refer to.

The key points of the period which I took away are:

  • The administrative centralisation begun during the War of the Rebellion continued at accelerating pace for the rest of the century and into the 20th century, though not without all kinds of opposition.
  • ‘Reconstruction’ is the name given to the period immediately following the War of the Rebellion, when the North tried to rebuild the South in its own image. Abraham Lincoln was shot on 15 April 1865. He was succeeded by vice-president Andrew Johnson who, unlike Lincoln and the Republican party which had dominated the Congress and Senate during the war, was a Democrat. For a fatal year Johnson was fantastically lenient to Southern soldiers and leaders, letting them return home with their weapons, and return to their former positions of power. Congress, however, saw that the Southerners were simply reinstituting their racist rule over the blacks and so superseded Johnson, implementing a new, more military phase of Reconstruction, by sending the chief Northern generals to administer the South under what amounted to martial law. Thus there are two periods: Presidential Reconstruction 1865-67, and Congressional Reconstruction 1867 to 77.
  • Some of the colonels and generals who had risen to prominence in the War of the Rebellion were sent West to quell risings by native Indians, for example the Sioux Rebellion of 1862. There then followed about 20 years in which the U.S. government and army broke every agreement with the Indians, harried and pursued them, bribed and bullied them onto ever-shrinking ‘reservations’. Some administrators and military men openly stating that they aimed to ‘exterminate’ the Indians. (General Sheridan called for a ‘campaign of annihilation, obliteration, and complete destruction’, p.379). It is ironic that Americans in the 20th century were so quick to criticise the British Empire and its colonial grip over native peoples, given that America did its damnedest to exterminate its own native peoples.
  • Describing what happened in the South from 1865 to 1910 is long and complex. But basically, there was ten years or so of Reconstruction, when the Republican government freed the slaves, gave them the vote, and tried to encourage their integration into economic life. This period ended around 1876 as the Republican Party lost its radical edge and became increasingly associated with northern capitalism. More to the point, the U.S. Army was withdrawn and the southern, racist Democrat party took over. They quickly began passing a whole raft of laws which brought about institutionalised ‘Segregation’. For example, during Reconstruction the number of black voters was huge, 80% or more of all adult black men, with the result that an astonishing number of local officials, judges and even governors were black. With the revival of the Democrats into the 1880s, all the southern states, starting with Mississippi in 1890, passed voter registration laws requiring voters to demonstrate specified levels of literacy, live in fixed abodes or even pay a small fee ($2) – with the result that voter levels fell to something like 5%! (pp.470-473).

This was one of the biggest things I learned from the book. Realising that it wasn’t slavery, or the Reconstruction period – it was this backlash during the 1870s and 1880s which instituted the Jim Crow legislation, the official segregation, the systemic impoverishment of black people, which was to last until the Civil Rights movements of the 1960s.

This is quite mind-boggling, a massive stain right the way through American history. It made me rethink my attitude towards slavery: I’ve read numerous books about slavery, seen movies and TV series about slavery, stood in front of statues against slavery, visited exhibitions about slavery.

But reading these pages made me realise that slavery isn’t at all the problem; that slavery is now so distant in time as to be almost irrelevant. It was this institutional racial Segregation, instituted across the Deep South of America, and whose ideology – if not its laws – spread to the North and West, infected all of American life – which is the real issue.

It was the deliberate trapping of black people in the lowliest, poorest-paid jobs, and their systematic exclusion from voting and public life, the division of parks and public places, theatres and toilets and buses into black areas and white areas – this is the thing to understand better because, as far as I can see, it continues to this day, albeit more subtly. #BlackLivesMatter.

In a way, then, the emphasis which is still given by schools and exhibitions to slavery is misleading. Slavery was abolished 180 years ago in the British Empire and 155 years ago in America. This book made me realise that understanding the philosophy and practice of Racial Segregation is much more important and much more relevant to our ongoing problems today.

Capitalism and its enemies

What feels like the lion’s share of the last 100 pages of the book is devoted to the consolidation of capitalism, and its enemies. There are detailed passages describing the rise of the ‘corporation’, as a new legal and commercial entity, quite different from the companies and partnerships which had preceded it (pp.454-464). I didn’t understand the legal and commercial details and will need to study them elsewhere.

Hahn is at pains to describe the way successive federal administrations, although equivocal about the massive cartels and monopolies which came to prominence in the 1890s, nonetheless took them as almost natural agencies which the government could use and work through – as potential extensions of state power. By the 1890s everyone on left and right thought that these huge monopolies (of railways, gold, silver, copper, iron, steel) a) were here for good b) that the reach and effectiveness of these huge transcontinental corporations or agencies could be a model for modern government.

Behind all this is the Rise of the Nation-State, the grand theme Hahn has been tracing since the 1830s. But although the various aspects of its rise is the central development, Hahn’s focus is much more about the multitude of forces which resisted the rise of the state, criticised, questioned, critiqued it, from both left and right.

So these last hundred pages devote a lot of time to the confusing multitude of opposition parties which rose up against the, by now, time-honoured duopoly of Republicans and Democrats.

We learn about greenbackism, anti-monopolism, the Populist party, the Progressive Party, the rise of mass trade unions, the Knights of Labour and the first socialist parties – and then descend into the jungle of disagreements and bickering among working class parties – socialist, syndicalist, anarchist, gradualist, evolutionary, revolutionary.

There is a lot about the strikes – kicked off by the Great Railroad Strike of 1877 – which blighted American industry in the 1880s and 1890s, all a revelation to me.

A softer, liberal version of resistance to monopoly capitalism came to be termed the Progressive movement, the idea that progressive politicians should use the levers of the state to combat alcoholism, illiteracy, corruption, infectious disease, prostitution, greed and labour exploitation (p.454). This movement laid the basis of what would later become the American welfare state (such as it is).

Some tried to bring the opposing blocs together. Liberal capitalists formed the National Civic Federation (NCF) in 1900, which brought together chosen representatives of big business and organized labour, as well as consumer advocates, in an attempt to resolve labour disputes and champion moderate reform.

The final pages describe how the whole American imperial mindset was then exported, just at the turn of the century, to Cuba and the Philippines, which America won off Spain as a result of victory in the following Spain’s defeat in the 1898 Spanish–American War, along with Guam and Puerto Rico, and also to Hawaii which, after decades of slowly taking over, America completely annexed in 1898.

Hahn shows how the same military leaders who had crushed the Indians were now sent to impose ‘civilisation’ on the Cubans and Filipinos, and with much the same mindset.

By now we are very familiar with American racist and segregationist thinking and so are not surprised when Hahn quotes racist comments by soldiers and administrators, or the speeches of politicians back in Washington, who thought people from inferior races i.e. the multicultural populations of Cuba, the Philippines and so on – simply weren’t capable of governing themselves, and needed the steady hand and civilising influence of the white man.

By the end of this book, I really hated America.


Old for us, new to the Yanks

I can’t get over the fact that so much of this seems to be new to the book’s reviewers. Back when I was a kid in school in the 1970s, I’m sure we all knew about American slavery. I remember the stir caused by the TV series Roots when it came out in 1977, over 40 years ago. All of us knew about the American Civil War, and maybe even had confederate flags or union caps among the various cowboy and Indian and army costumes we wore when we were ten. When I was a student, a friend of mine bought me Bury My Heart At Wounded Knee, the classic 1970 account of how America betrayed, bullied, and massacred its native peoples.

I’m sure all educated people knew about this history and these issues decades ago. The people around me in the Labour Party of the 1970s, the party of Tony Benn and Michael Foot, were very well aware of America’s history of imperialism, its origins in brutal slavery which it didn’t abolish until the 1860s, how it exterminated its native peoples, reached out to seize islands in the Pacific, in the Caribbean, and to dominate the nations to Central America, before going on to its long history of supporting military dictators, torture and assassination (in my youth these included the Shah of Iran, General Pinochet in Chile, General Franco in Spain, the military Junta in Greece, Ferdinand Marcos in the Philippines and so on.)

In the 1980s I hung around the communist bookshop in Brixton which was absolutely plastered with posters about American racism and the legacy of slavery, Martin Luther King, Malcolm X, protests against American imperialism and American multinational corporations and the CIA. Entrenched anti-Americanism was an absolutely basic, entry-level element of left-wing political awareness.

Yet somehow, in these books by Hahn and Alan Taylor, a lot of these things – the brutality of southern slavery, the genocide of the Indians – are presented as if they are new and seismic discoveries.

think what is happening here is that American academic history writing has finally caught up with how the rest of the world has seen America for generations – a hypocritical bully bragging about ‘liberty’ while keeping the descendants of the slaves locked up in drug-riddled ghettos, the last native Americans stuck in alcohol-soaked reservations, and propping up dictatorships around the world.

I think part of what’s going on in books like Taylor’s and Hahn’s is that, since the end of the Cold War, American academia has finally become free to portray the brutal realities of American history for what they were – and that, for American readers and students, a lot of this comes as a massive, horrifying shock. But to educated, and especially left-of-centre people throughout the rest of the world – yawn.

So if so much of the content has been so well known for so long, what was it that impressed the reviewers? I think it’s the unrelenting consistency with which he does two things:

One is the thorough-going application of a politically correct, identity-politics attitude which says right from the start that he is going to ignore a number of ‘famous’ events or movements or names (goodbye civil war, hello war of rebellion), in order to give more prominence to the role of native Americans, women and, especially, to blacks, than they have received in ‘previous’ histories.

But as I’ve commented above, very often Hahn’s widespread use of politically correct terminology like ‘patriarchy’ and ‘gender stereotypes’ and ‘racism’ and ‘masculinism’ in the passages where he does this, tends (paradoxically) to obscure a lot of these voices, to bury them beneath a shiny sociological jargon which removes specificity – names, places, events and even words – from many of the groups he’s supposedly championing. In this simple respect, I’ve found much older accounts to be far more enlightening.

In fact, it is possible to argue that Hahn and all the other politically correct historians who nowadays use terms like ‘patriarchy’ and ‘gender’ and ‘people of colour’ do so because these terms in fact fend off real acceptance of the blood and horror of those times. These sterile, clinical and detached terms in a way help to drain accounts of the period of their emotion and outrage. You could argue that the language of identity politics, the jargon of sociology and anthropology which recurs throughout the book, despite his explicit intention to bring uncomfortable facts and ignored voices into the light – in fact, through its sheer repetitiveness and its unspecific generalisation – works to neutralise and blunt the impact of a lot of what he’s describing.

For example, Hahn gives facts and figures and sociological explanations for the rise of slave fugitives following the passage of the Fugitive Slave Law of 1850. But McPherson, writing thirty one years ago, and without using any jargon, tells the specific story of the slave woman who escaped with her children to the North, but was tracked down. As the slave-hunters, with their dogs and guns, beat on the door of the cabin where she was hiding, this woman cut the throats of her small children so they wouldn’t be taken back into slavery, and then tried to cut her own.

You can see which approach leaves you most stunned, horrified and angry at the unspeakable horror of slavery, and it isn’t Hahn’s.

This is because the second thing going on in the book is what really garnered the praise, and that is Hahn’s high-level, intellectual and often bloodless ‘rethinking’ and ‘reconceptualising’ of the era in the terms I outlined at the start of the review.

He is interested in suggesting to highly educated readers already familiar with most elements of the period some new ways of thinking about it. Throughout, he downplays the voices of the white politicians who (I’m guessing) dominated earlier narratives, he really downplays the War of the Rebellion (maybe because there are already tens of thousands of other accounts of it), and instead plays up the notion that the increasingly centralised American state faced a whole slew of rebellions from multiples sources, devoting his time to describing and theorising this riot of rebellions.

And so he ignores what I’m assuming is the old-fashioned type of history which celebrated the rise of American freedom and capitalism and wealth and included lots of dazzling images from the ‘Gilded Age’, and he focuses instead on the wide range of oppositions which the state (and rich monopolists) faced from women, Indians, blacks, alternative political parties, the trade unions, socialists and so on.

But I find it difficult to believe that all previous histories of this period utterly failed to mention the movement for women’s suffrage, that there aren’t hundreds of books about the Indians, and thousands about Segregation, that nobody noticed the epidemic of strikes in the 1890s, or that numerous commentators at the time (and ever since) haven’t criticised America’s interventions in Cuba and Hawaii and the Philippines as being as blatantly imperialist as the European Empires her politicians liked to piously denounce.

Maybe some of Hahn’s high-level reconceptualising is new and interesting, but to the average educated reader the actual events of this era remain unchanged and the main feature of Hahn’s book is that he doesn’t tell them as fully or as imaginatively as other versions do.

In a word

Don’t read this book unless you are already master enough of the period to appreciate Hahn’s reconceptualising of it. If you want vivid detail, maps, extensive quotes and a deep understanding of the period from 1820 to 1865, read Battle Cry of Freedom: The Civil War Era by James M. McPherson: so gripping, so packed with information and ideas, that I had to write five separate blog posts about it.

For the period after the Civil War – I have still to find a satisfactory history. Reading this book suggests I may have to track down separate books devoted to specific areas such as the Indian Wars, the Gilded Age with its labour militancy underside, segregation and its long-term consequences, and the imperial conquests at the end of the century.


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Soul Of A Nation: Art In The Age Of Black Power @ Tate Modern

Back to the 1960s, again

America again, after:

British art curators can’t get enough American art. And the 1960s again, after:

The 1960s is art curators’ favourite decade, a brief period when words like ‘radical’ and ‘revolutionary’, which all exhibition curators love to use about all their exhibitions, actually seemed to mean something.

Let’s just take it for granted that the averagely-educated person knows that the 1960s were a time of ‘turmoil and change’, especially in an America racked by the escalating tragedy of the Vietnam War which led to an explosion of student activism and widespread popular unrest etc.

Various key figures were assassinated – John Kennedy (1963), Malcolm X (1965), Martin Luther King (1968) – adding to the sense of permanent crisis. The counter-culture of drugs, folk, jazz, poetry, experimental theatre and film which had existed in tiny beatnik enclaves in the 1950s went mainstream, reaching a heady climax in the summer of love of 1967 by which time free love, LSD, flower power and all the rest of it were widely publicised in music, film, newspapers, magazines, TV and on the streets.

There was an explosion of experimentation in all the arts and especially in popular music, which is more enduring and accessible than any other art form – the songs of the Beach Boys, Beatles, Rolling Stones, through Jimi Hendrix, Pink Floyd, Cream and hundreds of other groups and singers – Simon and Garfunkel, Bob Dylan – immediately recall for most people a decade and a time very few of us personally experienced, but which we have been exposed to again and again in celebratory documentaries, biographies, albums, movies and adverts as a kind of peak of creative endeavour.

Afro-American clichés

A major strand of the general outburst of popular culture and protest was the ongoing demand for equal civil rights by a wide range of Afro-American organisations, voices and artists.

As indicated above, it is pop music which endures longest in the collective imagination and so most of us are familiar with the brilliant achievement of countless black recording artists (and behind them the network of black writers, producers, agents, clubs etc) such as Stevie Wonder, Nina Simone, Aretha Franklin, James Brown, Otis Redding, the whole Motown stable as well as the amazing array of great jazz artists, the obvious ones being Miles Davis and John Coltrane.

Anyone with a TV will have seen the world-famous images of the Civil Rights movement as replayed over and over again in documentaries about the time (such as the video at the American Prints exhibition which gave a three-minute whistle-stop tour of America in the 1960s to a soundtrack of The Doors) – Martin Luther King’s ‘I Have A Dream’ speech, black teenagers being hosed down by Alabama cops, and so on.

The ‘I have a dream’ speech is played on a loop on a bank of TV monitors positioned just outside the exhibition, alongside information panels about black cultural icons of the time like Malcolm X and James Baldwin.

Here’s a clip from it, just in case you’ve never heard or seen it before.

Soul of a nation

So given our over-familiarity with the period and most of its obvious cultural products, it comes as a genuine surprise to realise the scale and breadth of black art during this period. For this exhibition turns out to be very successful at going beneath the popular images of the decade to exhibit the specifically Black art of the 1960s and 70s, and especially the work linked with the political movements for civil rights – from the National Association for the Advancement of Colored People, the Civil Rights movement, the Black Power movement, the Black Panthers and so on.

No fewer than 65 black artists feature in the exhibition, working across a bewildering range of styles and media.

Rather than attempting to summarise it, you’d best take a look at Tate’s own room-by-room guide to the exhibition. (Realising the importance of contemporary black music, this walk through the show includes recommended listening from contemporary musicians.)

The 12 rooms of the show range from a number of movements, galleries and artists in New York, to the very different feel of West Coast black artists.

There’s a room of black-and-white photos by a range of photographers: apparently Roy DeCarava was the big daddy of black photographers but plenty of others are on show; I especially liked the shots of jazz musician John Coltrane and his drummer Elvin Jones, since I’ve been a big fan of both since discovering them as a student. But there are also evocative b&w shots by plenty of other black artists, the terrific street scenes of Beuford Smith and the more politically engaged photos of Herb Randall.

Couple Walking by Roy DeCarava © Courtesy Sherry DeCarava and the DeCarava Archives

Couple Walking by Roy DeCarava © Courtesy Sherry DeCarava and the DeCarava Archives

There are icons of blackness in a room titled Black heroes. This includes a series of semi-naive figurative oil paintings by Barkley Hendricks.

Icon For My Man Superman (Superman Never Saved Any Black People-Bobby Seale) (1969) by Barkley Hendricks © Barkley K. Hendricks. Courtesy of the artist and Jack Shainman Gallery, New York

Icon For My Man Superman (Superman Never Saved Any Black People-Bobby Seale) (1969) by Barkley Hendricks © Barkley K. Hendricks. Courtesy of the artist and Jack Shainman Gallery, New York

There’s a room dedicated to the work of Betye Saar, an artist who works in wood, found objects and carving with a primitive vibe. The more I looked, the more I liked.

Eye (1972) by Betye Saar © Beye Saar. Courtesy of the Artist and Roberts and Tilton, Los Angeles, California

Eye (1972) by Betye Saar © Betye Saar. Courtesy of the Artist and Roberts and Tilton, Los Angeles, California

At the start of the show many of the works are directly political, referring to specific incidents of police brutality or discrimination. A good example is Dana Chandler’s powerful sculpture of a life-sized bullet-ridden door to commemorate the shooting of Black Panther activist Fred Hampton in his Chicago apartment in 1969.

A number of photo-montages create a disconcerting sense of poverty, anxiety and dislocation, reminiscent in technique of similar cut-ups from the Weimar Republic back in the 1930s.

Pittsburgh Memory by Romare Bearden (1964) © Romare Bearden Foundation/DACS, London/VAGA, New York 2017

Pittsburgh Memory by Romare Bearden (1964) © Romare Bearden Foundation/DACS, London/VAGA, New York 2017

Anger and political activism, a refusal to take any more white racism, violence and discrimination leap from many of the exhibits, which commemorate both specific outrages and negative events as well as celebrating positive moments, political heroes and speeches and gestures of resistance.

Did the bear sit under the tree by benny Andrews (1969) © Estate of Benny Andrews/DACS, London/VAGA, NY 2017

Did the bear sit under a tree? by Benny Andrews (1969) © Estate of Benny Andrews/DACS, London/VAGA, NY 2017

There was a room of sculptures referencing Black African traditions, variations on the kind of wooden fetishes studded with nails which you can see in the British Museum. I liked the works of Noah Purifoy, including Totem and various untitled fetishes.

And hanging on the wall of room 4 (titled ‘Los Angeles Assemblages’) was a series of great twisted metal sculptures by Melvin Edwards.

I have nothing against political art – I enjoyed the exhibition of Peter Kennard‘s highly political art at the Imperial War Museum – and like a lot of the stuff here, but it’s also fair to say that looking at umpteen images of Martin Luther King or Malcolm X sometimes has the same effect as looking at the dusty old album covers in the V&A’s 1960s exhibition – it seemed to emphasise how long, long ago all this revolutionary fury was. And all this hope for change.

Repeated invocations in titles and works themselves of ‘the revolution’ and ‘revolutionaries’, references to the revolutionary writings of Malcolm X or the revolutionary activism of Angela Davis, all remind us just how dated hopes of some kind of social revolution along Soviet or Maoist lines now seem.

Black Unity (1969) by Elizabeth Catlett © Catlett Mora Family Trust/DACS, London/VAGA, NY 2017

Black Unity (1969) by Elizabeth Catlett © Catlett Mora Family Trust/DACS, London/VAGA, NY 2017

For as with all exhibitions from the 1960s, we now view these works over at least two seismic historical dividing lines – the collapse of the Soviet Union in 1991 and the start of the War on Terror in 2001. ‘Power to the people’ is a rallying cry from a long-distant time.

Revolutionary (1972) by Wadsworth Jarrell. Courtesy Lusenhop Fine Art © Wadsworth Jarrell

Revolutionary (1972) by Wadsworth Jarrell. Courtesy Lusenhop Fine Art © Wadsworth Jarrell

The curators raise, or mention, a number of ‘issues’ which were hotly debated at the time – ‘Is there a distinct Black aesthetic?’ ‘Should a Black artist’s work focus only on the Black struggle?’ ‘Should the Black artist address only a Black audience, or a universal audience?’ and so on. My son has just taken his A-levels and all these ‘issues’ have a kind of rounded, academic A-Level feel to them.

Certainly, many of the works here do focus on the Black experience, take Black people as subjects, try to create a Black art, an art of Black protest and an art of Black celebration, and so on…

But, on this visit, on a bright summer’s day, I ended up liking the far more abstract (and larger and more colourful) work to be found in room 7 (titled ‘East Coast abstraction’) and then room 10 (‘Improvisation and Experimentation’).

Some of these were huge and, if they had political or social undertones, they tended to be eclipsed by their sheer size and power as works of art. Very big, colourful works by Frank Bowling appear in both rooms 7 and 10.

Texas Louise (1971) by Frank Bowling. Courtesy of the Rennie Collection, Vancouver © Frank Bowling

Texas Louise (1971) by Frank Bowling. Courtesy of the Rennie Collection, Vancouver © Frank Bowling

Next to this one was an enormous work by Melvin Edwards (the sculpture whose Lynch fragments I liked earlier on). It is a huge curtain made from dangling strands of barbed wire, joined along the bottom by chains. A reference to slavery? Probably. But also just an awesome object in its own right.

Also in the same room was a huge canvas, painted abstract shapes and colours but designed to be knotted at the top differently everywhere it is hung. Doesn’t sound much but it is big, covering an entire wall.

Carousel Change (1970) by Sam Gilliam © Tate. Image courtesy David Kordansky Gallery

Carousel Change (1970) by Sam Gilliam © Tate. Image courtesy David Kordansky Gallery

Nearby sits a huge lump of ebony-black smooth wood, a sculpture titled Self by Martin Puryear. Ominous, absorbing light, filling the space, a meditation on blackness, a threat, a calming influence – make of it what you will.

There’s a lot of anger, the reminders of horrible atrocities, racism, murders and violence in this exhibition. There’s a lot of defiance and pride and rejoicing in black icons and heroes. There’s a lot of fist-clenching and right-on rhetoric about the revolution – I think the average educated person will know about these ideas or issues already.

Where this exhibition scores is in showing the sheer diversity, range and imagination of all these Black artists, creating art for all occasions, impassioned and political, or cool photographs of street life and jazz musicians, or huge awe-inspiring abstractions. There’s something for all moods and all personalities. Go see which bits you like.

Maybe part of the reason I like the bigger abstract works is because they suggest that the response to racist atrocity needn’t itself be full of anger and hate. Alabama is a piece of music John Coltrane wrote in response to a terrorist attack which shocked America, when four members of the Ku Klux Klan planted 15 sticks of dynamite and a timing device under the steps of the 16th Street Baptist Church in Birmingham, Alabama. The resulting explosion killed four little girls and injured 22 others. How stupid, wicked and evil racism is. What extraordinary beauty Coltrane – and many of the Black artists on display here – managed to extract from it.


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The Rest Is Noise 11: Superpower

Last weekend it was composers in Russia and the Soviet bloc; this weekend The Rest Is Noise festival focused on composers in 1970s and 80s America – which meant overwhelmingly the minimalism of Steve Reich and Philip Glass who were both in town to perform live with their ensembles, one on Saturday, one on Sunday night. As usual, each day was crammed with lectures, presentations, discussion panels, free concerts and film screenings and it’s the work of several hours just to decide which one to go to and which ones, therefore, to miss.

Saturday 9 November 2013

10.30-11.30 Robert Spitzer: Superpower? Robert Spitzer, Professor of Political Science at the State University of New York, dapper in his pressed brown trousers, blue blazer and poppy, gave a learned, even-handed overview of the main themes in US politics between 1960 and the 1980s:

  • Nuclear war The most amazing fact of the 20th century is that we’re still here and alive, despite the fact that two military giants armed to the teeth with nuclear weapons faced each other in hostility for 45 years. The Cuban Missile Crisis of October 1962 is where it came closest to the brink and JFK deserves huge credit for rejecting the ‘first strike’ recommendation of his military and demanding a third way, the face-saving climbdown which was finally adopted.
  • Civil rights Following Martin Luther King’ speech in Washington 1963, black civil rights became a dominant political issue in the 60s, the subject of numerous Constitutional amendments and state laws to free Afro-Americans from discrimination. 50 years later, in 1912, the number of black votes for the first time exceeded the number of whites, and America had a black President.
  • Women’s Liberation Through the 1970s the Women’s Movement campaigned for change and, through the ’80s and ’90s a series of legislation was passed to give women full equal rights. Politically the tipping point is 1980 when for the first time more women voted than men and with a detectably distinct agenda: suspicion of foreign wars and support of social welfare programmes. Despite all this the gender pay gap remains obstinately stuck at women earning an average 80% of men’s average earnings.
  • Vietnam 1969 represented the peak of US commitment to the Vietnam War, with some 550,000 troops in theatre. Spitzer says part of the problem was President Lyndon Johnson lacked confidence, unsure what to do next but certain that he didn’t want to go down in history as the first US president to lose a war. The war cast a huge shadow; socially it divided the country and spawned a generation of radicalism. The social radicalism may all be long gone now, but the shadow still influences the US military who want to avoid putting boots on the ground if possible and want to have a clear exit strategy from foreign entanglements.
  • Richard Nixon without doubt the strangest man to occupy the presidency: credit to him for his policy of Détente with the Soviet Union and to the breakthrough discussions with up-till-then dangerously isolationist China. However, the Watergate break-in in 1972 led through a long series of court proceedings to the threat of impeachment at which point he was forced to resign in August 1974.
  • Fiscal crisis The mid-70s saw America experience a new type of financial crisis, Stagflation: economic depression combined with inflation (presumably in part caused by the oil crisis) with widespread unemployment and a sense of urban decay and pessimism (see Luc Sante’s talk, below).
  • Ronald Reagan was elected president in 1980 with a remit to restore Americas pride, battered by Vietnam, and to sort out the economy. He succeeded in both which is why he remains an icon to many Americans to this day.
    • Trickle down economics Reagan was influenced by the economist Arthur Laffer who said if you cut taxes to a bare minimum you will increase government revenue because entrepreneurs and business will keep more money, circulate it to their shareholders and employees who will earn more and spend more and generate more tax. So Reagan slashed taxes. History has proved him wrong. In fact government revenue declined and what happened was the richest 1% of the US became steadily richer until nowadays the US is entrenched as the most unequal society on earth, with no sign of that changing.
    • Star wars But at the same time Reagan embarked on a vast refunding of the US military, including ambitious plans for a Strategic Defense Initiative, a space-based defence against missile attack. In part the scale of the US commitment to its military helped decide the new Soviet leader Mikhael Gorbachev that an arms race against the Americans was unwinnable. In the conservative view it was Reagan’s staunch standing up for the West that led the USSR to crumble and fall.
    • The deficit From 1789 to 1980 the US racked up $1 trillion in government debt: Reagan’s vast spending on the military combined with his tax cutting meant that by 1984 the US deficit was $2 trillion, and by 1988 $3 trillion. And so the US was set on the course it has followed up to the present day of trying to cut taxes to please conservatives but continue paying for the biggest military in the world and its evergrowing welfare bill. Result: the largest government deficit in history and recurrent political crises as the political classes fail to untie this knot. In this respect all US fiscal policy has been footnotes to the fundamental change of mindset inaugurated by Reagan.

12-1pm Keith Potter: The Birth of Minimalism Goldsmiths University lecturer Keith Potter has written widely about minimalism and edited academic books on the subject. His talk was dense and allusive and a little hard to follow at times. Highlights seemed to be: there is a well-acknowledged Big Four of minimalism – La Monte Young, Terry Riley, Steve Reich and Philip Glass of whom the first two have remained in underground, experimental cult status and the latter two have gone on to global superstardom. Predictably, of all The Rest is Noise’s 100 concerts the Glass one and the Reich one sold out immediately. They are pop stars.

The Big Four were all born between 1935 and 1937 ie are now well into their 70s. La Monte Young comes from an avant-garde background in which there was an influence of drugs, mystic states, Eastern religion, meditation, happenings and performance art. He developed an interest in drones, notes sustained for a long time, sometimes hours, sometimes in experimental pieces for days or even months. Terry Riley’s In C calls for the repetition of small cells or fragments, a performance lasts well over an hour. Reich’s early tape pieces It’s Gonna Rain (1965) and Come Out (1966) have been studied to death but Potter points out that they aren’t the slow steady phase shift which Reich himself claims, more a kind of stuck-record affect. But Reich then applies the phasing insight to Clapping Music (1972) and Four Organs (1970) and the rest is history as he explores the impact of minute additive processes ie various instruments playing the same thing but going very slightly out of sync, something which had never been tried before in classical music and is difficult to notate. From this insight comes his extraordinarily successful career producing numerous works of clean, bright, repetitive, pulsing music.

Reich and Glass knew each other, worked with each other, put on performances in 60s art galleries and Potter referred to the well-known connection with the parallel movement of minimalism in Art associated with Donald Judd, Sol LeWitt, Richard Serra and Robert Morris. Back to basic, clearly laid out, distinct elements of art: blocks, fabrics, big bits of metal. Glass, as everybody knows, developed a more lucid, poppy, instantly accessible version of the style based on repetitive arpeggios and simple harmonic progressions, which as made his style immediately recognisable and easily applied in adverts and any TV documentary about cities.

think Potter said the breakthrough year is variously ascribed to 1974 or 1976, the latter year seeing Reich’s Music for 18 Musicians and Glass’s opera Einstein on the Beach, both of which feature a return to complete tonality especially in the closing sections ie the definitive ending of serialism and the whole atonal experiment. A return to music everyone can understand and relate to. Hence their popularity. Potter namechecked Robert Fink who has, apparently, situated the rise of minimalist music in the wider US culture of soundbites, clips and excerpts, particularly of short repetitive television themes and stings, and in a wider culture based on the repetitive, semi-automated nature of industrial processes.

1-2.30pm Koyaanisqatsi The famous 1983 film was shown in the Clore Ballroom, ie the open space opposite the bar. I sat with the crowd and watched as I ate my sandwich. It certainly endorses Fink’s theory that minimalist music is particularly apt at describing the widespread repetitivity of late industrial society.

2-3pm Elliott Carter: An American Pioneer The four young wind players who make up Notus Winds played solo pieces by Carter interspersed with percussion:

I went to this concert in the Purcell Room see if I’d ‘get’ Elliott Carter this time, but I still didn’t. Whereas I’ve learned to like Boulez and love Ligeti and give Stockhausen a chance, Carter just seems like Modernism for its own sake. Brief virtuoso pieces on each instrument, which are there, force you to be alert and hear each unrepeated sequence of notes or squawks – and is forgotten as soon as experienced. It made me think there’s something wrong if ‘serious’ music forces you to choose between two equal extremes: between squawks and squalls of unrepeated sounds like Carter or barrages of insistent repetition in Reich and Glass. No wonder most of us are happy with our traditional classics and particular favourites in rock and popular music.

3.30-4.30 Luc Sante A noted writer, apparently, with a specialism in the history of New York (see his Amazon page and this interview in The Believer magazine), Luc read out a highly mannered essay (“The phrase du jour was ‘bad vibes’… weasels like us had the freedom of the city… the 1960s with their promise of effortless glamour and eternal youth….”) designed to give a sense of how rundown and rancid New York was in the 1970s, how all sorts of creative people could live among its urban ruins in poverty, and how it was all swept away by Reagan’s Yuppies and property developers in the 1980s. He was joined by American writer Sarah Schulman who suggested that the post-war GI Bill which helped returning soldiers buy homes in the newly laid-out suburbs triggered the well-known ‘White Flight‘ to the suburbs, hollowing out the city centres, which itself left them wonderfully cheap and easy for an army of developers to move in and bulldoze and refurbish and sell to the Yuppies and bankers of the 1980s. And thus the kind of cool poor Bohemia Sante and many others enjoyed was swept away, and forever, and from every major city: Paris and London are just the same, the colourful neighbourhoods made up of mixed races, social types, mixed housing arrangements, families, singletons, artists etc. All gone.

Eminent and authoritative about ‘the scene’ as Luc was, I now wish I’d gone to see the conductor Richard Bernas playing and explaining excerpts from composers of the 70s and 80s. But this is the kind of painful choice between multiple attractive events on at the same time which The Rest Is Noise forces you to make.

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Sunday 10 November

10.30-11.30am Breakfast with Glass and Reich The disturbingly young and enthusiastic composer John Barber had us all on our feet performing the opening of Reich’s Clapping Music (1972). He repeated Reich’s well-known assertion that there was no point pretending 1960s New York was 1900 Vienna or 1945 Berlin. On Broadway were glamorous shows, round the corner John Coltrane was playing. Reich felt he had to make music appropriate to his country and time.

Glass went to study in India, learning about ragas, music of great circularity and, ultimately, timelessness; Reich went to Ghana to learn about drumming and pulse. Barber said that, in his view, Glass’s music is about Being, Reich’s about Becoming. Reich’s music is very Western: it takes you on a journey from A to B, very slowly, carefully showing you everything that happens in the music. Glass’s music is higher, with its shimmer of arpeggios; Reich’s is deeper, embedded in the same groove or pulse.

Barber used the same early tape piece, It’s Gonna Rain (1965), as Professor Potter yesterday, to demonstrate the discovery of phasing, which was a bit boring. He mentioned the other phase pieces – Piano Phase (1967), Violin Phase (1967) – but then made the new (to me) point that after Steve’s trip to Ghana (1970) he came back and the phasing stopped: the new pieces just jump from one sequence to the next. And by the time of Music for 18 Musicians (1976) there is much more harmonic and dynamic variation.

11.45-12.45 Steve Reich in conversation with South Bank’s Head of Classical Music, Gillian Moore Impossible not to warm to this great, relaxed, open guy with his unstoppable enthusiasm and who just happens to be the most important composer of the late twentieth century. He described himself as “a fast talking New Yorker with a fast metabolism” and over the course of more than an hour it was hard to keep up with the flood of stories, jokes, questions, explanations and insights:

  • became a composer because he loved Bach, Stravinsky and bebop
  • people don’t pay composers till they’re old but they do pay musicians: hence he set up his own ensemble in 1966, also because he kept hearing tapes of friends’ compositions played by badly rehearsed musicians not in sympathy with the work: determined his own stuff would be performed by enthusiasts determined to play it to the highest standard.
  • he referenced John Coltrane and Africa Brass for being played on the one chord for 15 minutes and asked if people in the audience knew it and I appeared to be almost the only one, owning as a I do the disc with alternative versions of this awesome piece.
  • the Tyranny of Modernism: from 66 to 76 you HAD to compose in the International Style policed by Boulez and Stockhausen: even Stravinsky bent to it int he last works, Copeland tried and couldn’t do it; young composers had to but he didn’t want to. The thaw set in around 1976 through the 90s.
  • Can Music help us understand the Times (a premise of the entire festival)? “Not in the slightest.” If you’re writing pure music, No. If you’re writing music with a text, or opera then you choose a text which interests you and that may reflect a bit on the times. Maybe not.
  • He said loud and clear that Clapping Music (1972) was the end of phasing. He didn’t want to end up limited to being the guy who plays with tapes.
  • always liked the rhythm of the human voice, like Stockhausen’s Gesang der Junglinge for that reason and Berio (his teacher)’s Visages. Sang the praises of Berio’s wife Cathy Berberian.
  • led to an account of the origin of Different Trains (1988): was commissioned by the Kronos Quartet and initially thought of something based round recordings of Bartok in New York, but then realised writing a quartet invoking the shade of Bartok was a bad idea (laughter); then wondered if there were tapes of Wittgenstein talking, but no. Then drawn to the train journeys he took across America from one divorced parent to another and the voice of his nanny. Interviewed and taped her, then discovered other voices, notably of the conductor on those 1930s trains. And of course thought of the other trains criss-crossing Europe in the late 30s which led him to search out voices of survivors of the Holocaust. So is it his Holocaust piece? No. It’s about voices and rhythms and the rhythms of voices. But it has the Holocaust in it.
  • 1976 a breakthrough year, with Pärt’s Cantus for Benjamin Britten, Ligeti’s Self-portrait with Reich and Reich’s own Music for 18 Musicians.

Andrew Zolinsky: America’s Great Originals A concert of piano music by some late twentieth century American experimental composers, played by virtuoso pianist Andrew Zolinsky. He insisted on playing all the pieces through, with no breaks for applause. Afterwards, in conversation with BBC Radio 3’s Sarah Mohr-Pietsch, he explained they’d been chosen to create an aural journey.

Unlike the Elliott Carter yesterday, I enjoyed this, I ‘got’ the music from Meredith Monk’s very accessible jazz-inspired pieces, through the gaps and absences of Cage, to the cool, soft, melancholy fragments of the long, wonderful Feldman piece. This inspired me to seek out more works by all the composers and to keep my eyes open for future recitals by Zolinsky.

Which I guess is one of the points of the festival – to inspire and enthuse.

Milano, Teatro degli Arcimboldi. Philip Glass - Book of Longing. Immagini di Leonard Cohen ©Lelli e Masotti (Wikimedia Commons)

Milano, Teatro degli Arcimboldi. Philip Glass – Book of Longing. Immagini di Leonard Cohen ©Lelli e Masotti (Wikimedia Commons)

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