The title of the work in question, “The Gun Sculpture“, is actually something of a misnomer, for a few reasons. Firstly, as this censorship episode makes plain, the artists consider their full project to consist of three elements: a large cube made from weapons, a series of photographs and text on victims of violence, and a blackboard for visitor comments. Obviously, such a diverse and diffuse presentation of content is not a ‘sculpture’, per se, but rather is an installation. Their title ignores these latter components, and focuses attention primarily on the large 3D cube of weaponry (arguably the “artwork” of the piece, as the photos, text, and guestbook don’t really merit that appellation) which includes “a variety of anti-tank and anti-personnel landmines, mortar shells, 110 mm recoilless rifles, AK47s, sawed-off shotguns of different makes, knives and other non-fire arm weapons“. So plainly, not just “guns”. Plus, the Borg-ship-like block is not as solid as it appears in photographs, since it is in reality a cell-like room, its thin walls wired and welded with weapons on the outside. A weapon hut, sure, but not really a “gun sculpture” at all. (The piece would be better as a sculpture, per se, if it were a solid cube, since as it stands, in the flesh it feels disappointingly thin, like an unconvincing facade, and works much better in photos. A solid lump of guns and ammo would have far more sculptural impact).

Perhaps this misnaming of the work explains why Antonio Costa, director general of the United Nations Office in Vienna, can perhaps be forgiven for thinking the comparatively inartistic supplementary portion of photos and text on victims of violence was not “integral” to “The Gun Sculpture”, since it is quite clearly NOT integral to what most people would think of as the ‘artwork’, which is the cell covered in weapons. But, since Kendal and Bromley’s work is not simply the 3D element, but is in fact a mixed media installation on violence that includes other components, then it is beyond obvious that removing a portion of the thing by definition damages that thing’s integrity (“the quality or state of being complete or undivided”… Dictionaries FTW!). With a more appropriately descriptive name for the installation, Mr. Costa’s claim “that nothing was done to undermine the integrity of the artwork and that the UN supported the installation” would be seen as akin to a claim that black is white, and just as contrary to established facts.

Although none of the coverage on this issue has included any quotes from the mysterious Wallis Kendal himself, Sandra Bromley says “Social issues like this, not everybody likes them, but most people respect the right to look at issues and discuss issues. I hope the artistic community is riled by this. I hope they speak out loudly about it.” (The Edmonton Journal also quotes Bromley as stating “We don’t look at this art as a political statement”, but that’s obviously utter nonsense.) This isn’t really an issue merely for the arts community, but for civil society at large, to be riled by, just as any other instance of censorious interference should rile those who cherish the freedoms set out in the UN’s own Universal Declaration of Human Rights, which includes the right to free expression. And while China has long shown their disregard for basic human rights, in far worse ways than this, a commitment to free expression is something you would think the UN’s own Vienna Director-General would understand better, and hold more dear.

Unfortunately, it seems that Antonio Costa takes a rather squint-eyed view of human rights, which leads one to wonder what he’s doing in running a UN office in the first place? Perhaps it’s time for him to retire…

And yet, here we are.

"The Massacre of the Innocents (after Poussin)", Euan Uglow, 1979-81, oil on canvas laid on panel.

Turkey’s prime minister says Israel should be punished for its deadly assault on a convoy of ships carrying aid to the Gaza Strip.

In a passionate speech before lawmakers Tuesday, Prime Minister Recep Tayyip Erdogan called the raid a “bloody massacre” and an act of “state terror.” He said the assault went against international law and damaged world peace.

Mr. Erdogan urged Israel to lift its blockade of Gaza, calling it “inhumane,” and warned the country not to test Turkey’s patience.

"Massacre of the Innocents", Guido Reni, 1611, Oil on canvas.

He called on the international community to take further action to condemn Israel and said he would speak with U.S. President Barack Obama about the incident later in the day.

The Turkish prime minister’s speech came just hours after the United Nations Security Council reached an agreement calling for an impartial investigation of the raid. Russia and the European Union also issued a joint call Tuesday for an impartial probe.

On Monday, tens of thousands of people rallied in cities around the world to denounce the Israeli commando operation.

The largest demonstrations were in the Middle East and Europe, particularly in Turkey and Sweden, whose citizens were aboard the ships boarded by Israeli troops.

Nearly 10,000 Turks marched in Istanbul, and police in Stockholm said 7,000 protesters joined a march in the Swedish capital.

U.S. officials said President Barack Obama spoke by telephone with Israeli Prime Minister Benjamin Netanyahu, urging him to gather all available information about the deadly action.

"The Massacre of the Innocents", Pieter Bruegel the Elder, 1565-7, Oil on panel.

Mr. Netanyahu had been scheduled to visit Mr. Obama at the White House Tuesday, but canceled the trip and returned home to Israel from Canada Monday.

Mr. Obama expressed deep regret at the loss of life in the raid, and said it was important to learn as much as possible about what happened.

"Ok, nobody freak out..."

Painting from a Falnama: The Prophet and a King Converse
Original Title: The Prophet Muhammad in a Mosque
Persian, Safavid, about 1550
Iran
21.3 x 30.0 cm (8 3/8 x 11 13/16 in.)

Opaque watercolor, ink, and gold on paper

Boston Museum of Fine Arts

[Via BoingBoing, Courtesy Devil Devil]

UBC, one of the largest and most distinguished universities in Canada, has excellent resources for scholarly research and artistic practice. The visual art program partners with strong art history and curatorial studies programs to provide unique studio programs for its graduate and undergraduate students. The department is also associated with a leading contemporary art gallery, the Morris and Helen Belkin Art Gallery, and the internationally recognized Museum of Anthropology. For more information on the department visit www.ahva.ubc.ca.

The Department seeks an individual who pursues studio practice against a strong background of contemporary, art historical and theoretical concerns. The successful candidate will be expected to maintain an active program of research, exhibition, graduate supervision, teaching and service. Demonstrating excellence in innovative pedagogical approaches is essential. An ability to form interdisciplinary collaborations (with other departments and institutions) is also an asset.

The candidate must possess the following minimum qualifications:

• an MFA degree or equivalent;
• an active national and international exhibition record, including catalogue publications on his or her work;
• demonstrated potential for high quality research and teaching at all levels from foundation to graduate;
• strong commitment to administrative responsibilities and curriculum development;
  a serious engagement with contemporary art practice, theory and critical discourse;

Applicants must submit the following:

A letter of application including a statement of artistic, research and teaching philosophies; visual documentation of current work (for example, CD-ROM to a maximum of 30 images, DVD of no longer than 12 minutes, or URL); relevant publications and exhibitions including authored works and reviews; detailed CV; evidence of teaching effectiveness; and three confidential letters of reference (either included in the application, or sent under separate cover).

The applications and inquiries should be addressed to:

Professors John O’Brian and Catherine Soussloff, Co-Chairs, Visual Art Search Committee, Department of Art History, Visual Art and Theory, University of British Columbia, 403-6333 Memorial Road, Vancouver, B.C., V6T 1Z2, Canada.

Deadline: Applications and all supporting materials must be received by December 1, 2009.