We’ve all heard the saying, “never let a good crisis got to waste.” Sadly, we’re living through a convergence of crises, and the architects of our crises are seizing on the opportunity.
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If the City of Carmel is sincere about a more representative and equitable public art program, then it needs to better understand the symbolic and the economic contexts in which public art programs operate—and the ways in which their own program reproduces real and symbolic economic, racial, and gender inequities.
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It must be that time of year again. Politicians on the right are lining up to censor history— specifically, what texts can be used in the classroom. And, once again, they’re pulling out their copies of Howard Zinn, shaking them in the air, and decrying writers who challenge their triumphalist versions of U.S. history. This time it’s the president—a person who, I can say with relative confidence, has never read more than a few pull quotes from the book.
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In effect, the National Archives followed an unwritten, unspoken directive of the state. And, in so doing, they mirrored the politics of the state by presenting an alternative history, undermined public confidence in a governmental institution (in this case, the National Archives itself), and dismissed professional standards to appease the political winds.
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