Hannah Arendt Center for Politics and Humanities
15Apr/130

Amor Mundi 4/14/13

Arendtamormundi

Hannah Arendt considered calling her magnum opus Amor MundiLove of the World. Instead, she settled upon The Human Condition. What is most difficult, Arendt writes, is to love the world as it is, with all the evil and suffering in it. And yet she came to do just that. Loving the world means neither uncritical acceptance nor contemptuous rejection. Above all it means the unwavering facing up to and comprehension of that which is.

Every Sunday, The Hannah Arendt Center Amor Mundi Weekly Newsletter will offer our favorite essays and blog posts from around the web. These essays will help you comprehend the world. And learn to love it.

Kehinde Wiley: King of the Art World

kehindeHannah Arendt Center Senior Fellow Wyatt Mason explores the wild and wonderful world of super-artist Kehinde Wiley. "Wiley, as some of you may know, is an American artist, an unusually successful one. In the decade of his career to date, he's become one of the most sought-after painters in America. Holland Cotter, of The New York Times, called Wiley "a history painter, one of the best we have.... He creates history as much as he tells it." Even if you don't know him by name, you've likely glimpsed his grand portraits of hip-hop artists-LL, Ice-T, Biggie. Maybe you've even seen his massive portrait of the King of Pop: the one of MJ in full armor, astride a prancing warhorse. If all this suggests that Wiley, a 36-year-old gay African-American man, is court painter to the black celebretariat, that misconception has been useful to promoting his brand, up to a point."

Mason is skeptical, but if you don't know the Wiley brand, the route through Wiley's world of surfaces is about as fine a reflection as you'll find of the challenges facing the artist in a consumer society.

Letter from a Bahrani Prison

bahraniZainab Al-Khawaja is sitting in a Bahrani prison reading Martin Luther King Jr. Al-Khawaja is a political prisoner. She is in a cell with 14 others, some murderers. To maintain her dignity and to announce her difference from common criminals, she has refused to wear an orange prison jumpsuit. As a punishment, she is denied family visits, including by her baby. She is now on hunger strike. "Prison administrators ask me why I am on hunger strike. I reply, "Because I want to see my baby." They respond, nonchalantly, "Obey and you will see her." But if I obey, my little Jude will not in fact be seeing her mother, but rather a broken version of her. I wrote to the prison administration that I refuse to wear the convicts' uniform because "no moral man can patiently adjust to injustice." (Thoreau)." Al-Khawaja's thoughts on dignity and non-violence are more than worthy testaments to her mentor.

 

The Micro-Gig

microSara Horowitz takes on the "micro-gig," a new kind of freelancing that allows people to employ others for small tasks, like delivering or assembling IKEA furniture. Horowitz, however, worries about what "micro-gigging" might mean for workers: "It's as if we're eliminating the "extraneous" parts of a worker's day--like lunch or bathroom breaks--and paying only for the minutes someone is actually in front of the computer or engaged in a task." Welcome to our piece-work future.

Chim's Children

chimChloe Pantazi considers the work of the photographer Chim, also known as David Seymour, on the occasion of a showing of his work at the International Center of Photography. Pantazi focuses in particular on Chim's photos of children, saying that as he "offers up the every day lives of such adults working within the industry of war (as soldiers, munitions workers) we trust that Chim's postwar photographs of children yield something close to their every day, as vulnerable innocents who-like the newborn seen suckling at its mother's breast in a photograph taken of the crowd at a land reform meeting at the brink of the Civil War, in Spain, 1936-were virtually reared on the conflicts of their time."

Medvedev Political Art

medLucy McKeon explores Russian poet Kiril Medvedev, who has renounced the copyright to all of his works. McKeon recounts Medvedev's rebellion against the bourgeois idea of artist as private citizen-a type idealized by Joseph Brodsky in his 1987 Nobel Prize address. Medvedev is searching for a post-individualized and post-socialist culture-what he calls new humanism. "Logically, Medvedev's answer to individualized disconnectedness calls for a synthesis of twentieth-century leftist political and intellectual thought, a situation where several senses of the word 'humanism' begin to collide." Where something from poetry meets something from philosophy; where postmodernism, logocentrism, psychology, culture and counterculture, "and probably something else, too, that we haven't though of yet," writes Medevedev, join to form "a new shared understanding of humanity." Only in this utopian future society could the artist as private citizen responsibly exist and create."

Featured Upcoming Event

Music in the Holocaust: Jewish Identity and Cosmopolitanism

Part II: Music of Warsaw, Ludz and other Eastern Ghettoes

musicApril 20, 2013 at Olin Hall, Bard College at 7:00 PM

 Learn more here.

 

From the Hannah Arendt Center blog

Roger Berkowitz lauds the idea of early college. Jeffrey Jurgens considers Jeremy Walton's recent article "Confessional Pluralism and the Civil Society Effect." Cristiana Grigore responds to the recent New York Times article, "The Kings of Roma" by describing her own Roma upbringing in Romania. Kathleen B. Jones takes on New Materialism from an Arendtian point of view.

11Dec/120

Talking through the Israeli-Palestinian Conflict in Prison

As a regular faculty member for the Bard Prison Initiative, I can attest that one of the most appealing aspects of working with incarcerated students is their wide-ranging curiosity and perceptiveness. The men I know are eager to discuss topics that both deepen and expand the content of their classes, and they are quick to draw connections between their classes and current events. Their ability to make these links has a lot to do with the avid, even voracious attention many of them pay to the news on N.P.R., the major television networks, and almost any publication they can get their hands on. Such interest is a matter of both intellectual and existential significance: as a few of my students have related to me, the news offers one way to relieve their sense of isolation and to maintain a modicum of contact with “life in the street.” But their ability to draw connections also depends on an expansive moral and political imagination, one that consistently relates distant happenings to the details of their own lives.

A few weeks ago the students in “Migration and Diaspora in Global Perspective,” the class I am now teaching at Eastern New York Correctional Facility, wanted to know my thoughts on Palestine’s recent elevation to nonmember observer status at the U.N. The onslaught of questions began almost from the moment I entered the classroom. How would the vote change relations between Israel, Hamas, and the Palestinian Authority? Would the Palestinians be able to challenge Israel’s military incursions and settlement policies in ways that were not available to them before? Why did the U.S. oppose Palestine’s observer status when so many other states in the General Assembly favored it? How should we interpret Germany’s decision to abstain? And just how significant was this vote anyway? Was it a merely symbolic gesture, or would it have a real and decisive impact on the future?

I was not entirely surprised by the students’ interest, and I suspect that our class was responsible for at least a bit of it. Not long before, we had spent the day watching and discussing Cherien Dabis’s debut feature film Amreeka (2009), which traces the journey of a Palestinian mother and son from their home in Bethlehem to an Illinois suburb. The film’s U.S. distributor, National Geographic Entertainment, has marketed it as a classic immigration story, and the packaging for the DVD plays on well-worn themes of new arrivals’ disorientation, homesickness, and gradual adjustment. But the film also draws on Dabis’s own childhood memories in Omaha, Nebraska to cast an all-too-knowing eye on American life during the 2003 invasion of Iraq, and two key scenes deftly portray the power dynamics that unfold daily at Israeli checkpoints in the West Bank and Gaza. Beneath the anodyne surface, then, Amreeka packs a subversive punch, and my students appreciated its shrewd take on both the Israeli occupation and the U.S. War on Terror.

But my class is hardly the only reason why they are concerned about the Israeli-Palestinian conflict. A few of the students feel a degree of personal connection to ongoing events in the region because they were born and raised as Jews or because they converted later in life to Judaism or Islam. Others adopt a more distanced perspective but nevertheless regard the conflict as a pivotal geopolitical impasse about which they should, as informed students and citizens, have some knowledge.

And still others interpret the conflict as an almost paradigmatic instance of injustice, one that crystallizes the colonial legacies, entrenched political interests, and enduring economic disparities that define our contemporary world.

Moreover, the Israeli-Palestinian conflict resonates strongly with many of the students’ own experiences of stigmatization and hyper-visibility on ethnic and racial grounds. In one way or another, virtually all of the African American and Latino students in my class—and they represent the overwhelming majority—can relate to the profiling, ID checks, body and vehicle searches, and policing of space that are an integral part of the Israeli occupation. Many of them can also sympathize with Palestinians’ more general condition of disenfranchisement, their desire for “a place in the world which makes opinions significant and actions effective” (to invoke an evocative phrase from Hannah Arendt). In many instances, they cultivate such sympathy by drawing metaphorical links with their own histories and memories of exclusion.

On the basis of such connections, many of the students in my classes (and the Bard Prison Initiative more broadly) take a keen interest in struggles for cultural and political change in other parts of the world. They respond strongly to readings and films that deal not simply with the Israeli-Palestinian conflict, but also with apartheid in South Africa and the Troubles in Northern Ireland. At the same time, they display considerable curiosity—and not a little generosity—toward other groups that adopt and re-work political traditions and cultural practices they typically claim as “their own.” For example, African American students are often struck by the ways that Northern Irish Catholics adopted elements of the civil rights movement in the late 1960s and early 1970s, and they display a good deal of appreciation for the manner that Palestinian youth take up the aesthetics of hip-hop for their own purposes today. They do not typically claim exclusive ownership over these cultural and political formations, and they do not condemn moments of cross-cultural appropriation as illegitimate poaching or theft (although, I must admit, it can take a moment to digest white Irish Catholics singing “We Shall Overcome”).

I welcomed the questions the students posed that day, and I worked hard to answer them as best I could. But I was also aware of the distinct challenge they posed to me as a teacher and fellow observer of the world. How could I convey my own understanding of the recent U.N. vote while also acknowledging the lingering uncertainties and disagreements that it inevitably reflected? How could I draw attention to the complexities of the current conflict and not merely confirm, in an uncritical way, the sympathy that most of the students already felt for the Palestinian cause? And how could I suggest that we should be thoughtful about the connections we draw between other people’s experiences and our own?

I, for one, am acutely aware that I cannot facilely equate my own societal positioning and life history with those of my students. Are there limits on the imaginative links we might forge with people in other times and places?

Our discussion that day barely scratched the surface of these larger issues. But I left it with a new appreciation for both the difficulty and the importance of this kind of candid conversation. As challenging as it might be, such exchange is significant precisely because it bridges the political and the personal, the distant and the close-at-hand.

-Jeff Jurgens