Over the years, the exercise of free speech by cartoonists has been a recurring theme on this blog. All the way back in 2006 I discussed the infamous Mohammed cartoons published by Jyllands Postern, and of course the output of Charlie Hebdo has been examined and defended on several occasions. Meanwhile, the free speech of cartoonists around the world is often something that English PEN has to defend.
Continue reading “Chinese Cartoons, Free Speech and Offence”
At a museum in Haifa, Israel, a sculpture called McJesus has been removed from display.
The name of piece by Jani Leinonen tells you exactly what it looks like and also gives heavy clues as to why it is controversial: it is the crucifixion of Ronald McDonald.
There have been angry protests against the sculpture by Israeli Christians who consider it offensive and blasphemous. There were threats of fire bombing.
The sculpture brings to mind another crucifixion mash-up, Immersion (Piss Christ) by Andreas Serrano (1987). I also think of The Holy Virgin Mary by Chris Ofili (1996), a picture painted using elephant dung and which features pornographic imagery. Rudi Giuliani, then mayor of New York, called it ‘sick’ when the painting was exhibited there in 1999.
Continue reading “Hey, Haifa! 1999 called and it wants it's controversy back!”
Ever since the hideous massacre of journalists at the Charlie Hebdo newspaper, I’ve been relaying a pair of juxtaposed facts about the media coverage of the incident. I am preparing a talk to some media studies students about the coverage, and I have just realised I have never properly blogged about what I noticed.
Better late than never, I’m doing that now. Continue reading “The Newspapers' Double-Standards on Charlie Hebdo”
This week, the satirical magazine Charlie Hebdo was criticised for publishing a shocking cartoon about migrants and rape culture.
It features a depiction of the terrible image of drowned three year-old Aylan Kurdi alongside what appear to be some dirty old men, chasing women Benny Hill style.
Continue reading “Even the most offensive art can have two meanings”
Before I mire myself in questions of when and whether to publish shocking images, I should—must—begin by writing about the fact of Aylan Kurdi’s drowning and the refugee crisis in general. If the central argument for publishing an image of a dead boy is that it ‘gets people discussing the issues’ then I think I have an obligation to do so, even if these thoughts have been stated earlier and more eloquently, elsewhere. Continue reading “On the ethics of publishing the photo of Aylan Kurdi”