— The Erimtan Angle —

Archive for the ‘Art’ Category



‘As European leaders prepare to meet Turkey’s President Erdoğan at the NATO summit this week, [the Cartoonists Rights Network International] is just one among many human rights orgs urging the Presidents of the European Commission and Council of Europe to ensure that protection of human rights and detention of journalists in Turkey remain a central point of discussion’.

The CRNI published a public letter addressed to the Turkish Prez and his European interlocutors:

Your excellencies,

Turkey has been a member of the Council of Europe for almost sixty years and is party to the European Convention on Human Rights.

In a meeting with the European Committee on Foreign Affairs held in Strasbourg on May 15th Thorbjørn Jagland, Secretary General of the Council made the following statement with reference to journalists arrested in Turkey on charges pertaining to support for terrorist organisations:

“… there is case law [in the European Court of Human Rights]… that one cannot have a journalist in pre-trial detention for more than four months.”

Staff from the Cumhuriyet newspaper including our colleague the acclaimed and internationally respected cartoonist Musa Kart were formally arrested on November 5th 2016. They were finally indicted on April 4th 2017 – a gap of five months.

Last week they spent their two hundredth consecutive day in custody. When the first hearing of their trial takes place, scheduled for July 24th, they will be approaching the end of their ninth month. And their circumstances are far from unique; Amnesty International’s figures indicate that a third of the world’s imprisoned journalists are in Turley.

By any measure of jurisprudence the protracted detention of these journalists constitute a violation of rights accorded to those awaiting trial.

Furthermore we reject the charges levelled against Kart and his colleagues, who have done nothing more than pursue careers in journalism.

We urge President Tusk and his delegation to press President Erdoğan on conditions for journalists and media workers in Turkey and remind him that, in the word of Sec.Gen. Jagland:

“… [the ECHR] has communicated to the journalists that their[s] are cases of priority.”

Finally we call upon President Erdoğan to consider his own words last year following the attempted coup against his government:

“I feel that if we do not make use of this opportunity correctly, then it will give the people the right to hold us by the throat.”

Time for Turkey to behave “correctly” i.e. like the robust, mature, lawful democracy and valued world player her friends in Europe know her to be.

Joel Pett, President, CRNI”.(1)





Molly Crabapple: Drawing Blood


‘From sex workers in the US to prisoners in Guantanamo, artist and journalist Molly Crabapple has been there. Her bold and powerful work has also taken her to Abu Dhabi’s migrant labor camps, and with rebels in Syria. Her new memoir, Drawing Blood, was just released in December [2015]. She is a contributing editor for VICE and has written for publications including The New York Times, Paris Review, and Vanity Fair. Her work is in the permanent collection of the Museum of Modern Art. This episode also features a commentary from Laura on the dark magic of the art market. Published on Jan 12, 2016′.

About three years ago, Molly Crabapple wrote that “Camp X-Ray is the first place that the US held detainees in Guantanamo. Captives lived there for four months in 2002 while the military built permanent prison camps. Prisoners lived in open mesh cages under the brutal Cuban sun. Their cells had no running water. Guards gave them two buckets: one for water and one for shit. The classic photos of GTMO, (dogs, marines, hooded captives in orange jumpsuits) were taken here. With its watchtowers, clapboard interrogation huts, and rings of barbed wire, X-Ray looks like nothing so much as a concentration camp in the Caribbean”.[1]





[1] Molly Crabapple, “Molly Crabapple Draws Guantanamo’s Camp X-Ray” VICE (20 June 2013). http://www.vice.com/read/molly-crabapple-draws-gtmos-camp-x-ray.

Oh, the Places You’ll Go at Burning Man!

‘Based on Dr. Seuss’s final book before his death, this is a story about life’s ups and downs, told by the people of Burning Man (Uploaded on Jan 6, 2012)’.  

‘Directed by: Teddy Saunders (http://tedsaunders.com), Parker Howell (http://parkerhowell.com), William Walsh (http://willpowercinema.com). Produced and Edited by Teddy Saunders’.  

The Wonderful World of Albert Kahn

‘In 1909 the millionaire French banker and philanthropist Albert Kahn embarked on an ambitious project to create a colour photographic record of, and for, the peoples of the world. As an idealist and an internationalist, Kahn believed that he could use the new autochrome process, the world’s first user-friendly, true-colour photographic system, to promote cross-cultural peace and understanding. Kahn used his vast fortune to send a group of intrepid photographers to more than fifty countries around the world, often at crucial junctures in their history, when age-old cultures were on the brink of being changed for ever by war and the march of twentieth-century globalisation. They documented in true colour the collapse of both the Austro-Hungarian and Ottoman empires; the last traditional Celtic villages in Ireland, just a few years before they were demolished; and the soldiers of the First World War — in the trenches, and as they cooked their meals and laundered their uniforms behind the lines. They took the earliest-known colour photographs in countries as far apart as Vietnam and Brazil, Mongolia and Norway, Benin and the United States’.[1]

Europe on the Brink

[1] “About Albert Kahn” The Wonderful World of Albert Khan. http://www.albertkahn.co.uk/about.html.

ARTS.21: The Culture of the Dogon – On View in Germany

The Dogon culture blossomed in the spectacular rocky landscape of Bandiagara in what is now Mali. The natural and cultural heritage of the Dogon has been on the UNESCO world heritage list since 1989. More than 270 of the most beautiful objects from the region, including masks, sculptures and jewelry, are on show at the Bundeskunsthalle in Bonn. ARTS.21 visited the Dogon people in Mali.


Collecting Ancient Central America: Museums, Explorers, & Archaeologists in Pursuit of the Past

Starting in the late 19th century, travelers, amateur scientists, businessmen, politicians, and later, professional archaeologists returned from Central America with never-before-seen artifacts. Many of these ceramic, stone, gold, and jade objects ended up in museums and many entered private collections. Regardless of their final destination, these early collections have helped, and continue to help, define a unique and unparalleled ancient history of Central America. This symposium delves into this history by looking at both early antiquarians and more recent scholarly approaches to collecting and understanding the past. It focuses on individuals, institutions, and the social and political factors that have impacted the collecting of objects from Belize and Guatemala in the north, down to Panama in the south. By extension, this conversation is also about understanding the history of archaeology, the history of museum building, and how we construct the past. Featured scholars include Dr. John Hoopes (University of Kansas), Dr. Francisco Corrales (National Museum of Costa Rica), Dr. Rosemary Joyce (University of California, Berkeley), Luis Sánchez (Department of Environmental Management, Costa Rican Institute of Electricity), Dr. James Snead (California State University Northridge), Dr. Elin Danien (University of Pennsylvania), and Dr. Alexander Benitez (George Mason University).


New Islamic Art Galleries at the Metropolitan, New York

After years of renovation, New York’s Metropolitan Museum recently opened its new galleries displaying the arts and crafts of the Islamic world.

In the New York Times, Holland Cotter writes that in “2003 the Islamic galleries of the Metropolitan Museum of Art closed for renovation, and one of the world’s premier collections of Islamic art more or less vanished into storage. The timing, barely two years after the events of Sept. 11, was unfortunate, if unavoidable. Just when we needed to learn everything we could about Islamic culture, a crucial teaching tool disappeared. As of Tuesday [, 25 October 2011] the learning can go forward. The Met’s Islamic collection returns to view in what are now being called the galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia and Later South Asia. The new, much expanded installation — organized by Sheila Canby, the curator in charge of the department of Islamic art, with Navina Najat Haidar as project coordinator — is as intelligent as it is visually resplendent. The art itself, some 1,200 works spanning more than 1,000 years, is beyond fabulous. An immense cultural vista — necessary, liberating, intoxicatingly pleasurable — has been restored to the city. As its title implies, that vista has been carefully thought out and framed. Rather than presenting Islamic art as the product of a religiously driven monoculture encompassing centuries and continents, the Met is now — far more realistically — approaching it as a varied, changing, largely secular phenomenon, regionally rooted but absorptively cosmopolitan, affected by the intricacies and confusions of history, including the history that the art itself helped to create”.[1]

Cotter continues that the “Met galleries convey some sense of monumentality in a few long-familiar works. The great 11-foot-high mosaic-tiled 14th-century mihrab, or prayer niche, from a religious school in Isfahan is one. The intact wood-paneled reception hall known as the Damascus Room, decorated with poetic verses that have been placed in proper order with this reinstallation, is another. Then there are carpets, portable monuments. The Met has spectacular examples. The Simonetti Carpet, woven around 1500 in Cairo and named for a 20th-century owner, is nearly 30 feet long. In dim quarters in the old Islamic galleries it was hard to appreciate. Now displayed in a high, wide room designed by Michael Batista, the Met’s exhibition design manager, and atmospherically lighted by Clint Ross Coller and Richard Lichte, its garden-and-lawn colors — rose reds, grass greens — look tender with fresh life. Carpets like this one, emerging from imperial ateliers, are partly about look-at-me largeness. But they’re also about close-up detail, and this is the real story of the art of the Islamic world, and certainly of the examples gathered at the Met”.[2]


[1] Holland Cotter, “A Cosmopolitan Trove of Exotic Beauty – 1” The New York Times (27 October 2011). http://www.nytimes.com/2011/10/28/arts/design/the-mets-new-islamic-galleries-review.html?_r=1.
[2] Holland Cotter, “A Cosmopolitan Trove of Exotic Beauty – 1”.