Tag Archives: Malcolm X

HOURIA BOUTELDJA

“Why am I writing this book? Because I share Gramsci’s anxiety: ‘The old are dying and the new cannot be born; in this interregnum a great variety of morbid symptoms appear.’ The fascist monster, born in the entrails of Western modernity.

“Of course, the West is not what it used to be. Hence my question: what can we offer white people in exchange for their decline and for the wars that will ensue? There is only one answer: peace. There is only one way: revolutionary love.” — Houria Bouteldja, from WHITES, JEWS, AND US

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“With her new book, the French-Algerian political activist launches a scathing critique of the European Left from an indigenous anti-colonial perspective, reflecting on Frantz Fanon’s political legacy, the republican pact, the Shoah, the creation of Israel, feminism, and the fate of postcolonial immigration in the West in the age of rising anti-immigrant populism.

“Drawing upon such prominent voices as James Baldwin, Malcolm X, and Jean Genet, Bouteldja issues a polemical call for a militant anti-racism grounded in the concept of revolutionary love. Such love will not come without significant discomfort for whites, and without necessary provocation.

“She challenges widespread assumptions among the Left in the United States and Europe—that anti-Semitism plays any role in Arab–Israeli conflicts, for example, or that philo-Semitism doesn’t in itself embody an oppressive position; that feminism or postcolonialist theory is free of colonialism; that integrationalism is a solution rather than a problem; that humanism can be against racism when its very function is to support the political-ideological apparatus that Bouteldja names the ‘white immune system.’ ”*

Bouteldja serves as spokesperson for the Parti des Indigènes de la République.

Houria-Bouteldja

HOURIA BOUTELDJA

WHITES, JEWS, AND US – TOWARD A POLITICS OF REVOLUTIONARY LOVE

Forward by Cornel West

Translated by Rachel Valinsky (South Pasadena, CA: Semiotext(e), 2018)

mitpress.mit.edu/whites-jews-and-us

Originally published in France in 2016 by La Fabrique Éditions.

See “We, Indigenous Women,” an excerpt from the book: e-flux.com/we-indigenous-women

Frantz Fanon (top), Houria Bouteldja. Image credit below: Semiotext(e).

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CARTIER-BRESSON AUCTION

Henri Cartier-Bresson was the greatest photographer of the twentieth century. His images are timeless. Putting this collection together has given so much joy and meaning to my life. I think and hope that through this auction a new generation of global collectors will experience the same joy and inspiration in their lives that I have. During my thirty-plus years of collecting and running a gallery, it has been my belief that there are ‘good’ photographers, and even some ‘great’ photographers, but Cartier-Bresson was and still is in a class of his own.” — Peter Fetterman, November 27, 2017

Over 120 works from Fetterman’s personal collection of photographs by Henri Cartier-Bresson are on view and will be up for auction at Phillips in New York.

“We are delighted to offer these spectacular images in our final auction of 2017. Peter Fetterman played a vital role in expanding Cartier-Bresson’s audience in the United States. A great deal of Cartier-Bresson’s works have become instantly recognizable, and in addition to those images, there are many photographs in Mr. Fetterman’s collection that have rarely been seen. These stunning images span over three decades of the artist’s career and were taken throughout his travels across the globe. They beautifully capture the aesthetic of the ‘decisive moment’ that defines his oeuvre.” — Vanessa Hallett, deputy chairman and worldwide head of photograph’s at Phillips

 

HENRI-CARTIER-BRESSON: THE EYE OF THE CENTURY—PERSONAL PHOTOGRAPHS FROM THE COLLECTION OF PETER FETTERMAN

PUBLIC VIEWING, through December 11.

AUCTION, Tuesday, December 12, at 2 pm.

PHILLIPS, 450 Park Avenue, New York City.

phillips.com/auctions/auction/NY

Peter Fetterman is a collector and owner of the Peter Fetterman Gallery in Santa Monica. See his personal tribute to Henri Cartier-Bresson, published in B & W magazine following the photographer’s death:

Fetterman on Henri Cartier Bresson

peterfetterman.com

culturedmag.com/the-eye-of-the-century

From top:

Malcolm X, 1961. © Henri Cartier-Bresson.

Truman Capote, 1947. © Henri Cartier-Bresson.

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Truman Capote, 1947 © Henri Cartier-Bresson

 

 

 

 

 

 

 

 

 

 

TrumanCapotebyHenriCartier-Bresson1947

JAMES BALDWIN

“There are too many things we do not wish to know about ourselves. People are not, for example, terribly anxious to be equal (equal, after all, to what and to whom?), but they love the idea of being superior….Furthermore, I have met only a very few people—and most of these were not American—who had any real desire to be free….We are controlled here by our confusion, far more than we know.” — James Baldwin, “Down at the Cross,” from The Fire Next Time

 In the late 1970s, James Baldwin began work on a book about three of his friends who had been murdered: Medgar Evers, Martin Luther King, Jr., and Malcolm X. Passages from this unfinished, unpublished manuscript, titled Remember This House, form the basis for I AM NOT YOUR NEGRO, Raoul Peck’s masterful, exhilarating documentary on Baldwin, American racism, and our threadbare construct of lies and amnesia implemented daily to forestall national self-immolation.

 

I AM NOT YOUR NEGRO

Now playing.

“Down at the Cross” was originally published as “Letter from a Region in My Mind” in the November 17, 1962 issue of The New Yorker, and is included in the Library of America edition James Baldwin—Collected Essays, edited by Toni Morrison.

Above image credit: Library of America.

Below: James Baldwin in France, 1970.