One story that seems to never end for me is one that began when I ended my association with Bread and Puppet Theatre over a mural-sized series entitled "Independence Paintings" by Bread and Puppet founder, Peter Schumann, that juxtaposed the images and text of the Warsaw Ghetto with conditions in the Palestinian West Bank. I perceived both a provocative from of antisemitism and what is sometimes referred to as "soft-core" Holocaust Denial ("soft-core" in that it either minimizes the suffering of the victims of the Shoah, that it grossly misrepresents another event through comparison to the Shoah.)
I revisited the story this past September when "Independence Paintings" were exhibited in Burlington, Vermont as part of that city's annual Art Hop. While I was not present for the events in Burlington, I did follow the controversy that raged in the Burlington press for several weeks.
Perhaps the most moments were on the morning of Saturday, September 8th when Vermonters for a Just Peace in Palestine/Israel (VTJP)-- whose website I discuss elsewhere-- the organization that sponsored the Schumann exhibition, presented a lecture by Joel Kovel drew protesters. There were many varied accounts of what occurred at that lecture, however, one thing that was clear was that there had been a breakdown in civility (elsewhere, I note that any breakdown in civility originates in misrepresentations made by Schumann and VTJP.)
Perhaps the most powerful image from that day was a flyer by local artist David Sokol that portrayed parading Bread and Puppet puppets, a recent victim of vigilante justice, and the text "Puppets Lynch the Jews." Sokol has since created a book of prints entitled The Golem of Church Street: An Artist’s Reflection on the New Anti-Semitism. The prints are currently being exhibited at the Burlington art gallery, Kasini House until August 9th.
I have yet to see the prints, but the interview that Sokal gave to Margot Harrison in Seven Days has made me excited to see the work. Much of the work, based on the description, presents many icons revered by progressives (of whom Vermonters are accustomed to describe themselves) but in the context of their complicity with antisemitism-- and this part of what is the "New" in the "New Antisemitism" the way that a hatred that has long been associated with theological intolerance, racial hatred, and right-wing extremism, has co-opted the rhetoric of Enlightenment humanism (though, I would note, it really isn't that new.) Sokol eloquently describes his stance towards the phenomenon here:
“My issue is not with the left. I’ve supported the Progressive Party. I’m trying to make a distinction between the left and the fundamentalist left. My definition of fundamentalism is that you no longer see the needs of other people, because your ideology gets in the way.”
I intend to set my eyes upon the prints in the immediate future.
(* Note: it is my practice not to hyphenate "antisemitism", my reason for doing so is that there is no contrasting ideology of "Semitism"-- this is a common practice in the scholarly community. The standard practice, however, is hyphenate.)
2 comments:
I also am interseted in seeing the Golem of Church street because I place a great deal of importance on art that makes people uncomfortable, The left deserves to have their ideoogies questioned as much as the right. This ongoing debate creates just society not ridgid doctrine.
Exactly, Timelord.
The various factions on the right practically define themselves as being unquestionable, while the left's self image has always been that of if not "speaking truth to power" at least defending the liberty to "speak truth to power." So the left, to be true to its own origins in the enlightenment, needs to question itself. Most honest leftists and liberals try to do this-- but on the more radical left something else is happening:
All too often those on the far left adopted rhetorical strategies (and even content) of right-wing extremists: newspeak, binary opposition, demonization of "enemies", even racism is acceptable so long as it is of the anti-Semitic variety. How often have I attended an anti-war or anti-racism rally and seen emblems of support for despicable regimes simply because they are perceived as opposition to "Western Hegemony?"
Remember that feminism, gay rights, freedom of speech, and labor unions are all part of "Western Hegemony."
* * *
Back in the days when I still labeled my politics as anarchist, a Maoist tried to sell me her newspaper:
"Sorry, I'm an anarchist." I said.
"Oh, we Maoists have a lot to say to anarchists!" she perkily responded.
"Is that before or after you attach electrodes to my genitals?"
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