Art is either brilliant or it's not, the artist's motives matter not.
http://www.salon.com/2013/03/07/iconic_seattle_ceramicist_exposed_as_holocaust_denier_partner/
QuoteSeattle artist inspires füror
Charles Krafft's ceramics were long thought to be ironic -- until he was exposed as a Holocaust denier
By Bill Morlin
This article was originally published by The Southern Poverty Law Center.
(https://languish.org/forums/proxy.php?request=http%3A%2F%2Fmedia.salon.com%2F2013%2F03%2Fkrafft_hitler_art-620x412.jpg&hash=8174d94b3031ccc91cbd70f65a7717f4f24ad7bf)
For decades, iconoclastic Seattle artist Charles Krafft has made references to Nazis in his highly acclaimed, sometimes shocking pieces of art that most critics and art lovers brand as simple, ironic satire pushing the boundaries.
He crafted a ceramic Hitler-bust teapot now in a San Francisco art museum, and put swastikas on other pieces of art, even on a ceramic wedding cake. He made a ceramic Uzi assault rifle, hand grenades and an "assassin's kit" – a gun and dagger.
Now, the 65-year-old hippie-turned-artist is at the center of a growing controversy following a published report detailing evidence — including his own words — that suggests he is a white nationalist who believes the Holocaust is a myth.
Hundreds of comments about Krafft are being posted on Facebook and Twitter and elsewhere, and the art and culture world — particularly in ceramic art circles — are abuzz over the revelations published in The Stranger, a Seattle alternative paper. The headline on that piece was hard to misunderstand: "Charles Krafft Is a White Nationalist Who Believes the Holocaust Is a Deliberately Exaggerated Myth."
Beyond E-mail correspondence with Krafft, writer Jen Graves reported that she had found Krafft's comments on a white nationalist website where he makes repeated anti-Semitic remarks. "I believe the Holocaust is a myth," Krafft says on a podcast published last July. The article goes on to say that Krafft believes the Holocaust is "being used to promote multiculturalism and globalism."
Krafft, sounding as if he, too, is surprised by the backlash, didn't back away from any of that when contacted by Hatewatch.
"Since I've admitted to being a Holocaust skeptic and identifying as a WASP on a White Nationalist website, I really can't claim I was smeared," Krafft said. "However," he continued, "I would like to point out that I never tried to dupe liberal art collectors and curators with satire and irony in my art while laughing at them. I came by my controversial opinions on race and WWII history relatively recently."
In one white nationalist podcast, Krafft says Christianity is being replaced "by this new secular religion of the sacrifice of 6 million Jews. And the museums, memorials, monuments, study centers, Holocaust chairs at the universities — it's all part of the promotion of a new kind of, like I said, civil religion maybe. ... We're the heretics in a new religion that's being promoted and built up and being embraced by governments throughout the United States and Europe."
The Stranger's piece on Krafft — reposted repeatedly on the Web — has hit particularly hard in the art world.
"When this broke loose, it all did come as a big surprise," nationally known ceramic art dealer, historian and author Garth Clark, of Santa Fe, N.M., told Hatewatch. Clark has sold Krafft's art works and spoken with the artist numerous times, but never represented him.
"This was an artist who, in the ceramic world at least, was very well liked and respected," Clark said. While Krafft's work always has "had a very dark side to it," Clark said that the art world had "assumed the dark side was ironic. In fact, everybody made that assumption." After all, he said, people in the art world are "prepared to deal with pretty raw ideas."
Michael Upchurch, the art critic for the Seattle Times, said the revelation about Krafft came as a surprise to him and others in the city's art community. "He's definitely big time here in the art community, that's for sure," the writer said. "I've always thought his work was humorous," the product of a clever artist who tackles horrific subject matters with a fine porcelain medium, he said.
Krafft always has been at the leading edge of provocative art. Clark recalled a series of ceramic art works the Seattle artist did a decade ago, claiming to use human cremains for pieces he called "Spone," a satirical poke at the 18th-century English ceramics artist Josiah Spode, who used crushed animal bones to produce "bone china." "Most of us thought that was kind of radical, and deeply, darkly amusing," Clark recalled.
Using Hitler's bust to make a ceramic teapot or referring to the Holocaust in art is one thing, Clark said, but actually embracing and promoting white supremacist and Holocaust-denying views is "ridiculous." Now, some suggest that Krafft's teapot was a clever way to keep the Nazi leader's image alive and on public view.
With these new revelations and Krafft's own words and postings on his Facebook page, Clark said there "doesn't seem to be much doubt that he is, indeed, a white supremacist and a Holocaust denier. "Being provocative in a way that's intellectually valid is one thing, but it's another if the artist is actually being bigoted."
As the criticism grew this week, Krafft posted a new Facebook photo of a piece of metal sculpture he calls "Fowlschwitz," a concentration camp for birds – a birdhouse surrounded by barbed wire.
He didn't talk about that, but he did tell Hatewatch that he believes the Seattle newspaper article wrongly suggested that he was concealing the intent of his art for years and urged collectors and museums to re-examine his work "for subversive content" and then censor or cut off access to the pieces.
"Very, very little of the art I've made has had any Nazi symbolism in it," Krafft claimed. "I'd like to point out to those I speak with about articles accusing me of being a Nazi in sheep's clothing how dishonest I think this is.
"I would also point out there are differences between Holocaust denial, Holocaust skepticism and Holocaust revisionism, White supremacy and White Nationalism that have been overlooked, or blurred for shock value, and [that blurring has been used] to paint me in the worst light possible," he told Hatewatch without elaborating on what he sees as the differences.
"My deep research, here and abroad, into 27-year harassment of Archbishop Viorel Trifa, the founder of the Romanian Orthodox Episcopate in America, was instrumental in contributing to the formulation of my reactionary opinions," he said.
Despite his attempts at explanation, criticism of Krafft is still boiling, with pointed anger directed at him showing up in some Facebook posts.
"I was devastated about the revelation that Krafft was a Nazi sympathizer and anti-Semite," New York author and blogger Phil Campbell, formerly of Seattle, responded when reached for comment by Hatewatch.
Most of Krafft's art, Campbell said, "relies on the idea that Krafft as an artist is treating the themes he manipulates — violence, Nazis, the Holocaust among them — with a deft, ironic sense of humor. If he's sincere (in his personal beliefs), the work itself is corrupted, which is an irony in itself (albeit a twisted one)."
"Conceptual art can be a dicey issue, with so much left open for the audience in terms of the inference of meaning, but this is one of those very specific cases, I think, where the artist's intent is absolutely crucial to the understanding of the objects made; the artistic intent changes the meaning of the art," Campbell said. "If Krafft is indeed a Holocaust denier, as he appears to be, then it corrupts the art itself. I simply cannot look at any of his art in the same way again. Only Aryan Brotherhood members are going to want to buy his porcelain hand grenades now.
"I also think this also could be the case of a man well past his prime who is indulging some delusional tendencies that have been there for a very long time, but perhaps weren't that strong in the beginning," Campbell continued. "Krafft has always been an iconoclast, but now his iconoclasm is hardening, becoming a deadening ideology. The older he gets, the more his opinions seem to be calcifying, degrading."
"Since the Stranger piece came out I know of several people who claim that Krafft has intimated all along that he harbors certain sympathies for these anti-Semitic opinions," the art critic said. "Perhaps. But now Krafft is making his beliefs public, so now there should be no doubt."
David Barclay Moore, a Brooklyn-based writer, filmmaker and photographer, also was among dozens who took to Twitter to comment on the Krafft controversy. Contacted by Hatewatch, Moore said the revelation may devalue pieces of the artist's work and make them less powerful.
Krafft's' work was ingrained with a sense of creative spirit — "elements of bitter histories into comic ironies," Moore said. "Now that at least some of his art appears to have originated from a much more literal place, their once perceived brilliance must rinse off in the wash, leaving behind an embarrassingly dull residue of thoughtless intolerance."
In Washington, D.C., travel and art writer Melanie Renzulli, who once worked in the U.S. Holocaust Memorial Museum, also posted comments about the controversy.
"If Jen Graves' theory is true, that Krafft may have used art as a means of smuggling in a nationalist-white power message, then I think that curators in those museums that own artworks by Krafft should consider shelving or archiving his work rather than taking advantage of the controversy," Renzulli told Hatewatch.
Now, his pieces of work are "insensitive to survivors and their families," she said, especially in light of a recent story in The New York Times detailing new research that shows there were 42,500 Nazi ghettos and camps throughout Europe – far more than ever believed.
"Krafft's art seems to exist to desensitize, to diffuse the power of some of the world's controversial symbols," Renzulli told Hatewatch. "In doing this, it seems that deniers and/or Nazi sympathizers can rally around a swastika in plain sight. Even if this is one big joke by Krafft, it's not a very funny one."
:lol: That wont go over well.
Good job none of us here are famous; the expression hung out to dry springs to mind. :hmm:
To quote the great Plankton on Artists:
Plankton: You pretentious little insignificant artist. Your snivelly creations are worth less than a protozoan's waste!
Quote from: jimmy olsen on March 07, 2013, 07:51:14 PM
Art is either brilliant or it's not, the artist's motives matter not.
http://www.salon.com/2013/03/07/iconic_seattle_ceramicist_exposed_as_holocaust_denier_partner/
QuoteSeattle artist inspires füror
Charles Krafft's ceramics were long thought to be ironic -- until he was exposed as a Holocaust denier
By Bill Morlin
This article was originally published by The Southern Poverty Law Center.
This is where I stopped reading.
Quote from: jimmy olsen on March 07, 2013, 07:51:14 PM
Art is either brilliant or it's not, the artist's motives matter not.
:mellow:
Quote from: derspiess on March 07, 2013, 09:15:22 PM
Quote from: jimmy olsen on March 07, 2013, 07:51:14 PM
Art is either brilliant or it's not, the artist's motives matter not.
http://www.salon.com/2013/03/07/iconic_seattle_ceramicist_exposed_as_holocaust_denier_partner/
QuoteSeattle artist inspires füror
Charles Krafft's ceramics were long thought to be ironic -- until he was exposed as a Holocaust denier
By Bill Morlin
This article was originally published by The Southern Poverty Law Center.
This is where I stopped reading.
And a Raz stalking is coming your way. PREPARE YOURSELF! MORTAL POLITICAL KOMBAT!
I don't eat that stuff!
I do find it funny that all of the people who thought they were oh-so-clever to find all the "hidden meanings" in this artwork are now butthurt because they find that the hidden meanings they were so proud of finding are not, apparently, there (by intent, anyway).
I do like the Hitler-in-yamulka teapot, I must admit. I might like it better if I understood why it says "Idaho" on it, or I might not. Best not to risk it.
Quote from: grumbler on March 09, 2013, 09:31:56 PM
I do like the Hitler-in-yamulka teapot, I must admit. I might like it better if I understood why it says "Idaho" on it, or I might not. Best not to risk it.
Best guess, given the new context to analyze in: comment on the union miners' uprisings around the end of the 19th century.
My guess is it has to do with Idaho being ground zero for white supremists.
Quote from: Admiral Yi on March 10, 2013, 01:17:00 AM
My guess is it has to do with Idaho being ground zero for white supremists.
Yeah this would be my guess as well.
Quote from: 11B4V on March 07, 2013, 09:18:19 PM
Quote from: garbon on March 07, 2013, 09:17:25 PM
Quote from: jimmy olsen on March 07, 2013, 07:51:14 PM
Art is either brilliant or it's not, the artist's motives matter not.
:mellow:
Tim's feeling profound.
I don't think there is anything profound about such a reductionist statement.
Quote from: Martinus on March 10, 2013, 01:37:05 AM
Quote from: 11B4V on March 07, 2013, 09:18:19 PM
Quote from: garbon on March 07, 2013, 09:17:25 PM
Quote from: jimmy olsen on March 07, 2013, 07:51:14 PM
Art is either brilliant or it's not, the artist's motives matter not.
:mellow:
Tim's feeling profound.
I don't think there is anything profound about such a reductionist statement.
It is irrelevant whether you think it's profound.
I like how the word pothead springs to mind and that the lid looks like a kippah.
White nationalism is stupid. The idea that whiteness makes you better is ridiculous. Poles have pale skin, after all.
Quote from: Neil on March 10, 2013, 10:27:44 AM
White nationalism is stupid. The idea that whiteness makes you better is ridiculous. Poles have pale skin, after all.
Louis CK:
QuoteI'm not saying that white people are better. I'm saying that being white is clearly better, who could even argue? If it was an option, I would re-up ever year. 'Oh yeah I'll take white again absolutely, I've been enjoying that, I'll stick with white thank you.' Here's how great it is to be white, I could get in a time machine and go to any time, and it would be fucking awesome when I get there! That is exclusively a white privilege. Black people can't fuck with time machines. A black guy in a time machine is like 'Hey, anything before 1980, no thank you, I don't want to go.' But I can go to any time ... in the past, I don't want to go to the future and find out what happens to white people, because we're going to pay hard for this shit, you gotta know that ... we're not just gonna fall from number 1 to 2. They're going to hold us down and fuck us in the ass forever, and we totally deserve it, but for now: Wheeeee! If you're white and you don't admit that it's great, you're an asshole! It is great and I'm a man. How many advantages can one person have? I'm a white man, you can't even hurt my feelings! What can you really call a white man that really digs deep? 'Hey cracker!' ... 'Oh, ruined my day. Boy, shouldn't have called me a cracker, bringing me back to owning land and people. What a drag.'
Quote from: 11B4V on March 10, 2013, 01:52:02 AM
Quote from: Martinus on March 10, 2013, 01:37:05 AM
Quote from: 11B4V on March 07, 2013, 09:18:19 PM
Quote from: garbon on March 07, 2013, 09:17:25 PM
Quote from: jimmy olsen on March 07, 2013, 07:51:14 PM
Art is either brilliant or it's not, the artist's motives matter not.
:mellow:
Tim's feeling profound.
I don't think there is anything profound about such a reductionist statement.
It is irrelevant whether you think it's profound.
Irrelevancy seems like an odd reason to take issue with a post on Languish. ;)
Quote from: garbon on March 12, 2013, 09:36:38 AM
Irrelevancy seems like an odd reason to take issue with a post on Languish. ;)
:D
The Civil War is always relevant.