'Pupils of Apelles' at Copro Gallery: One Cult, Two Masters

“The time which I have been thrown into does not interest me.”

– Odd Nerdrum

Pupils of Apelles, a four person exhibition now on view at Copro Gallery through this Saturday, December 6th, is about reaching far back in time for inspiration and connection. Although the Norwegian artist and mentor Odd Nerdum appears in the largest font on the show’s roster, it is the 4th century Greek artist Apelles of Kos who is presented as the presiding master of its cult.

The invoking of Apelles may strike some as a kind of smokescreen, as show’s star attraction is Nerdrum, an aesthetic refusenik who once painted himself in a custom-sewn golden robe as The Savior of Painting. Whatever you may think of Nerdrum’s art — and his ego — you have to grant him this: no living “master” has magnetized more ambitious and talented young representational painters than he has. Yes, offering up his own art as a model is part of what Nerdrum does, but to be fair, Nerdrum’s approach has also involved asking his students to look far outside the perimeters of current tastes in art: that is where Apelles enters into things.

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Odd Nerdrum: Photo by John Seed

“Rather than dialogue and cooperatively compete with contemporaries,” explains painter David Molesky, “Nerdrum has taught us the benefit of ignoring the packaging of time and to strive with masters of the past as if they were our peers.” Striving to create an artistic dialogue with Apelles involves both research and considerable imagination since none of his works have survived, except in copies and descriptions.

History has noted Apelles as being an early advocate of a tetrachrome (four color) palette consisting of white, yellow ochre, red ochre and black: from this basic set of pigments a wide range of tints including flesh tones could be mixed. Apelles’ technique also presages European oil painting methods: in his Natural History Pliny the Elder says that Apelles used a varnish on his paintings that ’caused a radiance in the brightness of all the colours and protected the painting from dust and dirt.’ A lyrical painter whose works are recorded as having employed elaborate allegories and personifications, Apelles made a number of portraits of Alexander the Great including one of the young ruler wielding a thunderbolt.

Molesky, who studied with Odd Nerdrum between 2006 and 2008 says that the legend of Apelles came up as they looked over a book of Pompeian frescoes: Nerdrum told him that the paintings preserved by the ashes of Vesuvius were “copies upon copies” that echoed the original great works of Apelles.

“It really triggered my imagination,” Molesky recounts, “to think about what these paintings must have looked like, these invisible paintings — all destroyed 1200 years ago — that were esteemed by Rembrandt, Titian, Botticelli and others as the greatest works ever, even though they had never seen them.” Raphael, another admirer, portrayed himself as Apelles in his fresco The School of Athens which graces the Vatican’s Apostolic Palace. In a sense, striving to emulate Apelles offers up the fantasy of joining what Molesky describes as “a secret bloodline of painters whose imaginations were ignited into fierce striving when the imagination was set to try and create something worthy of the Greek master.”

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Odd Nerdrum, Maenads, 2014, oil on canvas, 75 x 106 inches

What would Apelles have thought the rivetingly strange Maenads, the largest of six Nerdrum canvases on view at Copro? The subject is classical: maenads were women who resisted the worship of Dionysius and were driven mad by being forced to participate in rituals against their wills. Its seven nude figures, who rise from an ashen scrim of water, glower accusingly toward the viewer offering variations on the theme of refusal. One of them, second from the right, is androgynous or even masculine: in fact she/he resembles Nerdrum. Just what are unwilling Northern bacchants accusing us of? I’m guessing fatuousness and inanity: their resistance and suffering are the emblems of their character. Like the asylum inmates that Gericault painted, Nerdrum’s Maenads are to be both pitied and envied.

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Maenads, (Detail)

The characters in Nerdrum’s paintings have some pretty weird circuses going on in their heads, and to like his paintings you have to buy into the lugubrious strangeness, which not everyone does. Jenny Dubnau, a realist painter who earned her MFA at Yale, argues that Nerdrum’s imagery is “…like a parody of a Wagner opera or something: it feels like a very false, silly mythology that has no relevance to anything real in our culture. He himself describes his work as kitsch, but there’s zero humor to it, so it’s intensely unlikable.” In contrast, the late critic Hilton Kramer (1928-2012) found Nerdrum’s works valuable as cautionary tales: “They reject the present and exploit the past in favor of pictorial fable, allegory, and myth that offers the viewer a grim symbolic account of the human condition in extremes.”

For the past few decades, young artists interested in classical training — exactly the “wrong” approach in an era dominated by postmodern theory — have looked to Nerdrum as a beacon. His Road Warrior meets Rembrandt imagery and his considerable facility have made him a figure of considerable adulation. Luke Hillestad came to study at Nerdrum’s farm after an art school put-down helped him clarify his sense of difference:

At 22 I made a picture of two lovers for an Art University. The teacher’s only comment was that I “should get a job making covers for romance novels,” which sparked chuckles in the classroom. I would have happily taken that job, as I would have been equally glad to make pictures for video games, if only I had those connections. While the University upheld Kant’s call for disinterestedness, I was on an earnest search for beauty which pleasures and drama that delights. Odd’s farm was a place that facilitated these desires.

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A detail of Luke Hillestad’s Abyss

Hillestad’s melodramatic painting Abyss which depicts couple kissing in a water-filled cavern shows the tenderness and luminosity that was encouraged under Nerdrum’s tutelage. Migration, Hillestad’s image of a nomadic clan seems to be located in the precise mythological zone that Nerdum has invented, but its figures and surface are more carefully burnished. There is a hint of Pre-Raphaelite grace in Hillestad’s female figures that gives his work its distinctive mood.

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Luke Hillestad at work on his painting Migration in Norway, 2013

Caleb Knodell, who is represented by three oils including his glowering Self-Portrait as Possessed, found that his studies with Nerdrum offered both a sense of belonging and the support he needed to attempt challenging subject matter:

Working with Odd really isn’t work. While it can be strenuous at times, it usually involves small things. He will say things like “we will do this, and then we will have a nice time.”Whenever there was some big chore it was always followed by great food, relaxation, always coffee. He tends to always look at the other side of things. Not necessarily playing devil’s advocate, but more so a sense that whatever the majority believes is probably wrong.

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Caleb Knodell, Self-Portrait as Possessed, oil on linen, 49 x 50 inches

David Molesky, who first worked as an apprentice and model for Nerdrum at his studio in Iceland, found that his best moments with Nerdrum mainly consisted of watching Nerdrum paint and listening to his cultural anecdotes. Studying painting with Nerdrum — in Paris, Reykjavik or Memorosa — is rather like studying architecture with Frank Lloyd Wright at Talesin: just being the presence of the master can be the most important aspect. Rose Freymuth-Frazier, who studied with Nerdrum in 1995 says of Nerdrum: “He’s very compelling, generous etc. A lot of people looking for that influence in their lives find that, even temporarily in him. He’s bigger than life and he has the artistic mastery to back it up.”

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David Molesky painting at Odd Nerdrum’s farm in Norway.

Of course, the adulation of masters is something that has to come to an end at a certain point. When asked why had had left the studio of the sculptor Rodin, Constantin Brancusi famously replied: “No other tree can grow in the shadow of a great oak.” For that reason, David Molesky’s paintings, which have moved from Nerdrum’s Nordic mythological zone into depictions of fiery confrontations and conflagrations offer a welcome hint of artistic separation and maturity.

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David Molesky, Surface to Air, oil on canvas, 18 x 20 inches

From Odd Nerdrum, his first master, Molesky learned the importance of drama and atmosphere. Apelles, his second master, helped him realize that the imagination is a much broader field than any one person could ever show you. Artists who never walk away from the shadows of their masters risk being what the Greeks called epigones: less distinguished followers or imitators.

Pupils of Apelles
Odd Nerdrum, Luke Hillestad, Caleb Knodell, David Molesky
Through December 6th, 2014
Copro Gallery
Bergamot Arts Complex,
2525 Michigan Ave T5
Santa Monica, CA 90404

Reflections on Fergurson: Two Deeply Disturbing and Highly Conflicting Stories

By any measure, what happened in Ferguson is deeply disturbing. It is nothing less than a monumental tragedy. How could the death of yet another unarmed black teenager fail to ignite widespread outrage and, unfortunately, violent demonstrations? The death of one unarmed black teenager is one death too many.

However, there is another aspect of the tragedy that I also find disturbing. This aspect has received virtually no acknowledgement, and hence no discussion at all. As we know, there are essentially two widely conflicting and, on the surface, at least, deeply incompatible stories of what happened. For most people, to believe one story is to automatically judge the other totally wrong. In contrast, I believe that both stories are “right” and “wrong” in the sense that both have elements of credibility. That is, neither is totally right or totally wrong. Of course, merely to say this is to incur the wrath of both sides, for how could they be equally credible, if indeed they are?

In one story, Michael Brown is clearly the villain. According to this version of events, Officer Darren Wilson acted out of dire fear for his life. Brown had just committed petty theft. A surveillance tape shows him pushing a convenience-store clerk and making off with stolen cigarillos. According to his friend Dorian Johnson, who was with him during the theft and at the encounter with Wilson, Brown was planning to use the cigarillos to roll marijuana cigarettes. Because Wilson had been alerted to the recent theft over the police radio, he was on the lookout for the perpetrator. When he came upon Brown and Johnson walking in the middle of the street, he realized Brown fit the profile. When Wilson, sitting in his car, asked Brown to step out of the street and onto the sidewalk, Brown, instead of complying as he should have, became belligerent. Wilson attempted to get out of the car, but Brown slammed the door shut, knocking Wilson back into the car. Brown then violently confronted Wilson through the car window, savagely punching him in the face. Rightly fearing for his life, Wilson reached for his gun, but Brown wrestled him for it, and in the tussle the gun went off in the car and left an unmistakable injury on Brown’s thumb, demonstrating that he had indeed been at close range at the time. Brown fled, and Wilson got out of the car and pursued him, firing multiple shots when Brown turned back around and appeared to be charging Wilson. At least one of the shots was fatal. Brown’s intimating size and weight figured into Wilson’s decision to use deadly force. Because the grand jury believed Wilson’s testimony, they voted not to indict him. The grand jury also voted not to indict so as not to undermine police authority.

In the other story, Officer Wilson is the clear villain. According to this version of events, Wilson was the aggressor. Unaware of the convenience-story theft, he came upon Michael Brown and Dorian Johnson walking in the middle of the street and, from inside his car, rudely ordered them to get on the sidewalk using profanity. When Brown didn’t comply quickly enough, an enraged Wilson attempted to get out of the car, but the car door ricocheted off Brown’s body, knocking Wilson back into the car and further enraging him. He seized Brown through the car window, and a tussle ensued, with Wilson’s gun going off inside the car and Brown fleeing, fearing for his life. Wilson got out of the car and pursued him, firing multiple shots. Realizing he’d been struck, Brown stopped and turned back around, facing Wilson and putting his hands up in surrender, but Wilson fired several more shots, killing Brown. The death of another innocent and unarmed black teenager understandably outraged the black community. Michael Brown was not a thug, as some in the media portrayed him, but a “gentle giant” who was getting ready to go off to college. There is no way that he was a threat to law and order. The grand jury was wrong in failing to indict Wilson. If Wilson had been brought to trial, then he would have been cross-examined in a proper manner. Once again, black people were denied justice. The shooting of Michael Brown is another example of the racism that is rampant in American society.

On the surface, it is seemingly impossible to reconcile these two sharply conflicting stories, yet this is exactly what we must do if we are to learn from the tragedy and get beyond it, if one can ever truly get beyond a horrific tragedy.

Both stories have elements that ring true. Brown clearly committed a theft, for which he needed to be apprehended and arrested. Moreover, his considerable size and weight would have intimidated most officers, who, by virtue of the nature of their jobs, live in perpetual fear for their lives. On the other hand, it is not difficult to believe that Wilson also inappropriately provoked Brown, thereby leading to an avoidable tragedy. For this reason I believe that Wilson should have been indicted, if only on a lesser charge like involuntary manslaughter, so that he and the witnesses to the tragedy could have been cross-examined publicly in a court of law.

One of the most difficult tasks for human beings is to accept that there are elements of truth in widely conflicting accounts of horrific tragedies. But that is the task with which we humans are charged repeatedly. What single story ever has a monopoly on truth? If there is ever anything approaching the truth, is it not arrived at and known through the clashing of two widely conflicting accounts of events?

All of this suggests what is required if we are to move on, and why it’s so difficult for us to do so. Those who believe the first story have to accept that in not indicting Wilson, justice was not done in the eyes of those who believe the second story. And those who believe the second story have to accept that Michael Brown was not entirely innocent. But in no way does the theft justify his being shot, let alone fatally.

In short, both sides have to accept a fundamental part of the other’s story.

F. Scott Fitzgerald put it best when he wrote that “the test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function.” We are far indeed from even approaching a society with “first-rate intelligence.”

Ian I. Mitroff is a professor emeritus at USC. He is a senior research associate in the Center for Catastrophic Risk Management at UC Berkeley. He is currently at work on a book, Dumb, Deranged, and Dangerous: A Brief Guide to Combating Dumb Arguments.

Ravens Deny Telling Janay Rice To Apologize For Getting Punched By Her Husband

OWINGS MILLS, Md. (AP) — The Baltimore Ravens say they didn’t write a script for Ray Rice and Janay Rice during their joint news conference on May 23.

In an interview this week on the “Today” show, Janay Rice said the team suggested to her that she apologize for her involvement in the February incident in which Ray punched her in an elevator. Janay Rice also said the Ravens gave the couple “a general script” for the news conference.

Janay Rice told Today: “I was ready to do anything that was going to help the situation. Help the way we looked in the media, help his image, help obviously his career. They told us earlier that week we would do the press conference, and I was fine with it.”

“I was basically … not doing what I was told, but at the same time, I didn’t think it was completely wrong for me to apologize because at the end of the day, I got arrested, too. So I did something wrong, too. Not taking any light off of what Ray did because I agree with everybody else. It was wrong.”

Kevin Byrne, Senior Vice President of Public and Community Relations for the Ravens, said in a statement Wednesday that the team provided talking points to Ray, but not Janay.

“At no time prior to the May 23 session did we provide talking points, a script or suggested script to Janay or speak with her about the press event,” Byrne wrote. “We did not recommend or suggest to Ray or Janay that she apologize in any way.”

After Ray Rice told the Ravens he wanted Janay to speak to the media at the news conference, Byrne said he asked the running back “on two different days if Ray wanted me to speak with Janay in advance of the press session. Both times, Ray declined and said: ‘She’s good. She knows what she wants to say.'”

___

AP NFL website: www.pro32.ap.org and www.twitter.com/AP_NFL

NY Daily News Makes Huge Statement With Front Page On Eric Garner Decision

The New York Daily News is making it clear where the paper stands on the decision by a grand jury not to indict New York City police officer Daniel Pantaleo for the choking death of Eric Garner.

WE CAN’T BREATHE,” the paper declares on its front page, along with a photo showing Garner before he was brought down by a chokehold at the hands of Pantaleo.

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The cover echoes some of the last words of Garner, who cried out “I can’t breathe” several times before collapsing on July 17. A medical examiner later said the death was the result of the chokehold, a move banned by the NYPD, and ruled it a homicide.

Already, the cover is the topic of conversation on social media.

Inside the paper is an editorial that says the grand jury’s decision “has the earmarks of a gross miscarriage of justice.”

The ruling is painfully far harder to understand than the Missouri grand jury’s decision not to indict for the death of Michael Brown in Ferguson,” the editorial states, pointing to the widely circulated video of Garner being brought down by Pantaleo.

The editorial also predicts that the decision will have consequences.

The grand jury’s apparent determination that Pantaleo had properly subdued Garner will heighten raw racial friction over the killings of black men by white cops here and elsewhere, and, still worse, intensify a belief that the justice system offers no redress.

Black Lives Matter

“Black lives matter.” “I can’t breath.” These are the words that have been chanted by protestors from New York to California. Demonstrations continue nationwide against the deaths of young black men at the hands of police officers.

On Wednesday a Staten Island grand jury decided not to prosecute police for the choking death of 43 year-old Eric Garner, an African American, in Staten Island last July. Police were attempting to arrest Garner for illegally selling untaxed cigarettes. A video surfaced showing several police officers pulling Garner to the ground, one using an illegal choke hold. Garner can be heard on the video saying he could not breath as many as eleven times.

In August a medical examiner ruled Garner’s death a homicide, saying “the compression of his chest and prone positioning during physical restraint by police.” The examiner also noted that asthma, heart disease and obesity were contributing factors in the death. Despite the video and the medical examiner’s findings the grand jury, after a day of deliberations, decided that there was not enough evidence to charge a police officer, Daniel Pantaleo, with a crime.

The decision came on the same day as a memorial service for 12 year-old Tamir Rice was held in Cleveland, Ohio. More than 100 friends and family members gathered to remember the young African American boy who had been shot dead by police last month. Rice had been carrying a pellet gun when a bystander phoned 9-1-1. A Cleveland police car sped to the scene where Rice stood and shot him within two seconds, according to accounts.

For days demonstrations have been held from coast to coast to protest a Ferguson, Missouri, grand jury decision not to charge a police officer for the shooting death of black teen Michael Brown, who was unarmed. Many eyewitness accounts say that Martin had his hands raised when officer Darren Wilson, who has subsequently resigned from the Ferguson police force, gunned him down. Other witnesses say the already wounded Martin was charging Wilson, who was some distance away.

These deaths were a reminder for protestors that the criminal justice system doesn’t treat blacks and whites equally. ProPublica analyzed FBI records and released alarming findings. The site reported, “The 1,217 deadly police shootings from 2010 to 2012 captured in the federal data show that blacks, age 15 to 19, were killed at a rate of 31.17 per million, while just 1.47 per million white males in that age range died at the hands of police.”

In reaction to the Garner decision, Wednesday night President Barack Obama said, “we are seeing too many instances where people do not have confidence that folks are being treated fairly.” He continued, “This is an American problem when anybody in this country is not being treated equally under the law.” Earlier this week the president announced the White House would ask for $75 million to make 50,000 body cameras available to police departments across the country.

Also Wednesday evening, Attorney General Eric Holder announced a federal civil rights investigation into the death of Eric Garner. He said that the Justice Department’s Civil Rights Division and the FBI, which had been monitoring the case closely, would conduct “a complete review of material gathered during the local investigation.”

But it will take much more than a federal investigation to stop the tragic trend of young blacks dying at the hands of police. Local prosecutors work closely with police on cases and may not be independent enough to present evidence in a fair manner. The prosecutors in the Ferguson case at first presented their grand jury with the wrong law, which may have affected the outcome of that proceeding.

Most police officers bravely carry out their duties, often facing unpredictable and dangerous challenges. There needs to be a federal review of police arrest procedures in the field that will result in necessary reforms to stop wrongful deaths. Black lives do matter.

Your Black Friend's Thoughts on Ferguson

As an avowed Neo-Marxist, I’m used to my opinions not being taken seriously. I’m often met with polite explanations that my “ideas are good” but would “never work in real life.” I’m sometimes met with laughter and outright derision. So I do not take it lightly, nor do I expect any kind of widespread approval, when I say that the decision not to indict Officer Darren Wilson for the shooting of Michael Brown did not outrage me.

Did it sadden me? Deeply. Did it scare me? Definitely. But outrage requires shock, and I’m past the point where I expect justice for the shooting of an unarmed black man. In 1991 Rodney King was savagely beaten on camera by several police officers, the city he lived in rioted, and nothing happened to the officers. In 2012 Trayvon Martin was shot and killed by a neighborhood watchman, and nothing happened. Now Michael Brown is killed in Ferguson, the city he lived in rioted, and nothing happened to the officer involved. The worst thing about it is that these are not unusual cases. They are statistics, and we occasionally give a few of them national attention.

This kind of thing makes me tired. I’m not that old yet, only pushing 20, but I’m already tired. I spend the time that I’m not at Wesleyan University at home in Houston, one of the places where this kind of killing is most prevalent. It is not an uncommon occurrence, and I know I could easily be next. Going to a fancy liberal-arts school won’t protect me when I’m staring down the barrel of a policeman’s pistol. I still have in my ears the words of my black mother, who tells me to be careful every night I leave the house, because “you’re not white, and your white friends can’t protect you.” I’ve memorized the warning I get from my white father, guilt and fear in his eyes, each time I tell him I’ll be out late: “If you’re stopped, keep your hands on the wheel. Tell him you’re going to call us. Explain everything you are doing as you do it. No sudden moves.” I know that this is the same warning I’ll someday have to give my son when he leaves the house each night, and I’m still coming to terms with that.

I don’t like to be told how to feel. I don’t like to be made to feel like an outsider because I don’t feel the same call to action that a lot of people do. New York City organizer Tahira Pratt wrote on Facebook that she’s tired of liberal white and non-black people of color “using these moments of black murder and injustice as times to say … we need a sustained [movement] to end racial injustice … [b]ut then … be ghost and crickets a month after the rallies die down.” The hashtag #blacklivesmatter is a helpful tool for compiling the accounts of resistance to this horrendous tragedy, but it’s quickly become an inane way for non-black liberals to simultaneously show off their compassion and demonize those who don’t have the same passion for their cause du jour.

In recent weeks dozens of diatribes have appeared on Facebook that, to me, say so much more about the people writing them than they do about the situation itself. Pratt goes on to ask, “Have you actually talked to black people about how we are feeling during these times? Are you just pressuring us to hit the streets with you to lend cred to your cries?” I know for a fact that I’m a lot of people’s only black friend, and not one person has asked me how I feel about this. I’ve already said I haven’t been around long, but I’ve already noticed the pattern myself. I appreciate the solidarity, but when you retreat back into your own struggles, I’m still going to be here, and people who look just like me are still going to get shot by the hundreds.

I’ll quote Pratt one more time: She says that “Sometimes mass mobilizations works. But we keep doing it to protest police brutality and legal injustice again black people, and shit actually seems to get worse. [For example,] [t]he proposed bill to stop the sale of military equipment to police precincts [across] the country just stalled and died yesterday.” These valorizations of black victims as the front lines of protest against an unjust system leave the roots of the problem untouched. The game is rigged. The system pushes black people until we snap, then calls us “animals” for being angry.

And we play into it every time. We can build something for ourselves, but they will burn it down like Black Wall Street. We can beat them at their own game, but they will call the president a socialist and assault Professor Henry Louis Gates in his own home. We can lash out, but then they twist the narrative so that we’re the ones who are out of control. Until the rules of the game are changed, we’ll never have a fair shot at winning, or even being competitive. In my opinion, this type of discrimination has its roots in class inequalities and the capitalist construction of race in early American history, but even if you don’t agree, that discussion needs to be had, and it simply isn’t.

I’m tired of being ostracized for choosing to focus on the bigger picture here. The day after the decision not to indict Darren Wilson, it was suggested that people wear black out of respect. I didn’t, and when I went to Wesleyan’s USDAN cafeteria facility for lunch, I saw black-clad protestors holding signs with the #blacklivesmatter hashtag. I felt their eyes on me, noticing that I wasn’t conforming to their mode of protest, and instead of getting the usual greeting from the ones I knew, I was met with confused and upset stares. Do you really think I’m on the other side? Do you really believe I think Mike Brown should have been shot? I’ve been discriminated against, belittled, and assaulted for the color of my skin, and I’m still not “down” enough with the cause for these people. I live in the kind of place where the cops actually do the killing, and I’m still not black enough to garner your mutual respect on a difference of opinion. Once again, I’d be outraged, but that would require surprise. This is the same kind of pressure that I and many who aren’t part of the approved black-experience narrative face every day.

Recently I was having a conversation with one of my best friends, who’d made a Facebook photo album called “Browsing Facebook,” filled with a litany of unflattering pictures of himself logged on to Facebook, to lampoon the fact that this aspect of people’s lives (one in which they all undoubtedly partake) is never documented. When posting the album he used the hashtag #blacklivesmatter to mock the hashtag’s use as merely a way for people to garner attention. This turned out to be a very controversial choice, garnering dozens of “likes” as well as comments condemning his apparent flippancy. At least two people “defriended” him altogether. While you may or may not agree with what he did, what was interesting to note was that not a single black person was involved, on either side, besides me. (I took many of the pictures for the album, I am in one of the pictures, and when he asked me if the hashtag was going too far, I told him to do what he wanted, but that I didn’t care.) To all the people who posted that hashtag, and to all the people who got outraged on my behalf: Thanks, but I got this. I outlined earlier in this blog post why I’m not 100-percent comfortable with you co-opting our movement (as surface-level as that co-opting is) in order to lend credence to your own sense of moral outrage coupled with vainglorious self-promotion, and neither I nor any black person gave you the license to form a mob against what was, in this case, satire.

That friend told me I should write this blog post. I told him that it might make me the most hated black person on campus. He told me he was already the most hated white person in his immediate vicinity. I think that that is where he and I part mentally. While I applaud him for sticking to his principles, there is a major difference. There is no white community at Wesleyan (that just is Wesleyan), but there is a small black one, and as at-the-fringes as I already am, I anticipate something like this pushing me all the way out, and I’m running out of options. White people are often made uncomfortable by my brand of black militancy, and because it isn’t what black people want to hear either, they aren’t into it, so I’ve resigned myself to being adrift. If that weren’t the case after this, then I really would be surprised.

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