Category: Новини

Nearly 50 years after Sacheen Littlefeather stood on the Academy Awards stage on behalf of Marlon Brando to speak about the depiction of Native Americans in Hollywood films, the Academy of Motion Pictures Arts and Sciences apologized to her for the abuse she endured.

The Academy Museum of Motion Pictures on Monday said that it will host Littlefeather, now 75, for an evening of “conversation, healing and celebration” on September 17.

When Brando won best actor for “The Godfather,” Littlefeather, wearing buckskin dress and moccasins, took the stage, becoming the first Native American woman ever to do so at the Academy Awards. In a 60-second speech, she explained that Brando could not accept the award due to “the treatment of American Indians today by the film industry.”

Some in the audience booed her. John Wayne, who was backstage at the time, was reportedly furious. The 1973 Oscars were held during the American Indian Movement’s two-month occupation of Wounded Knee in South Dakota. In the years since, Littlefeather has said she’s been mocked, discriminated against and personally attacked for her brief Academy Awards appearance.

In making the announcement, the Academy Museum shared a letter sent June 18 to Littlefeather by David Rubin, academy president, about the iconic Oscar moment. Rubin called Littlefeather’s speech “a powerful statement that continues to remind us of the necessity of respect and the importance of human dignity.”

“The abuse you endured because of this statement was unwarranted and unjustified,” wrote Rubin. “The emotional burden you have lived through and the cost to your own career in our industry are irreparable. For too long the courage you showed has been unacknowledged. For this, we offer both our deepest apologies and our sincere admiration.”

Littlefeather, in a statement, said it is “profoundly heartening to see how much has changed since I did not accept the Academy Award 50 years ago.”

“Regarding the Academy’s apology to me, we Indians are very patient people — it’s only been 50 years!” said Littlefeather. “We need to keep our sense of humor about this at all times. It’s our method of survival.”

At the Academy Museum event in Los Angeles, Littlefeather will sit for a conversation with producer Bird Runningwater, co-chair of the academy’s Indigenous Alliance.

In a podcast earlier this year with Jacqueline Stewart, a film scholar and director of the Academy Museum, Littlefeather reflected on what compelled her to speak out in 1973.

“I felt that there should be Native people, Black people, Asian people, Chicano people — I felt there should be an inclusion of everyone,” said Littlefeather. “A rainbow of people that should be involved in creating their own image.”
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Scotland’s police said Sunday they are investigating a report of an “online threat” made to the author JK Rowling after she tweeted her condemnation of the stabbing of Salman Rushdie. The Harry Potter creator said she felt “very sick” after hearing the news and hoped the novelist would “be OK.”

In response, a user said, “don’t worry you are next.”

After sharing screenshots of the threatening tweet, Rowling said: “To all sending supportive messages: thank you police are involved (were already involved on other threats).”

 

A spokeswoman for Scotland’s police said: “We have received a report of an online threat being made and officers are carrying out enquiries.”

Rushdie, 75, was set to deliver a lecture on artistic freedom Friday in western New York when a man rushed the stage and stabbed the Indian-born writer, who has lived with a bounty on his head since his 1988 novel “The Satanic Verses” prompted Iran to urge Muslims to kill him.

Following hours of surgery, Rushdie was on a ventilator and unable to speak as of Friday evening. The novelist was likely to lose an eye and had nerve damage in his arm and wounds to his liver.

The accused attacker, 24-year-old Hadi Matar of Fairview, New Jersey, pleaded not guilty to charges of attempted murder and assault at a court appearance Saturday.

Rowling has in the past been criticized by trans activists who have accused her of transphobia. 
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Some of the world’s most prized works of contemporary Western art have been unveiled for the first time in decades — in Tehran.

Iranian President Ebrahim Raisi, a hard-line cleric, rails against the influence of the West. Authorities have lashed out at “deviant” artists for “attacking Iran’s revolutionary culture.” And the Islamic Republic has plunged further into confrontation with the United States and Europe as it rapidly accelerates its nuclear program and diplomatic efforts stall.

But contradictions abound in the Iranian capital, where thousands of well-heeled men and hijab-clad women marveled at 19th- and 20th-century American and European minimalist and conceptual masterpieces on display this summer for the first time at the Tehran Museum of Contemporary Art.

On a recent August afternoon, art critics and students were delighted at Marcel Duchamp’s see-through 1915 mural, “The Large Glass,” long interpreted as an exploration of erotic frustration.

They gazed at a rare 4-meter (13-foot) untitled sculpture by American minimalist pioneer Donald Judd and one of Sol Lewitt’s best-known serial pieces, “Open Cube,” among other important works. The Judd sculpture, consisting of a horizontal array of lacquered brass and aluminum panels, is likely worth millions of dollars.

“Setting up a show with such a theme and such works is a bold move that takes a lot of courage,” said Babak Bahari, 62, who was viewing the exhibit of 130 works for the fourth time since it opened in late June. “Even in the West these works are at the heart of discussions and dialogue.”

The government of Iran’s Western-backed shah, Mohammad Reza Pahlavi, and his wife, the former Empress Farah Pahlavi, built the museum and acquired the multibillion-dollar collection in the late 1970s, when oil boomed and Western economies stagnated. Upon opening, it showed sensational works by Pablo Picasso, Mark Rothko, Claude Monet, Jackson Pollock and other heavyweights, enhancing Iran’s cultural standing on the world stage.

But just two years later, in 1979, Shiite clerics ousted the shah and packed away the art in the museum’s vault. Some paintings — cubist, surrealist, impressionist, even pop art — sat untouched for decades to avoid offending Islamic values and catering to Western sensibilities.

But during a thaw in Iran’s hard-line politics, the art started to resurface. While Andy Warhol’s paintings of the Pahlavis and some choice nudes are still hidden in the basement, much of the museum’s collection has been brought out to great fanfare as Iran’s cultural restrictions have eased.

The ongoing exhibit on minimalism, featuring 34 Western artists, has captured particular attention. Over 17,000 people have made the trip since it opened, the museum said — nearly double the footfall of past shows.

Curator Behrang Samadzadegan credits a recent renewed interest in conceptual art, which first shocked audiences in the 1960s by drawing on political themes and taking art out of traditional galleries and into the wider world.

The museum’s spokesperson, Hasan Noferesti, said the size of the crowds coming to the exhibition, which lasts until mid-September, shows the thrill of experiencing long-hidden modern masterpieces.

It also attests to the enduring appetite for art among Iran’s young generation. Over 50% of the country’s roughly 85 million people are under 30 years old.

Despite their country’s deepening global isolation, and fears that their already limited social and cultural freedoms may be further curtailed under the hard-line government elected a year ago, young Iranians are increasingly exploring the international art world on social media. New galleries are buzzing. Art and architecture schools are thriving.

“These are good works of art, you don’t want to imitate them,” said Mohammad Shahsavari, a 20-year-old architecture student standing before Lewitt’s cube structure. “Rather, you get inspiration from them.”
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Acclaimed author Salman Rushdie remained hospitalized on Saturday with serious injuries a day after he was repeatedly stabbed at a public appearance in New York state, while police sought to determine the motive behind an attack that drew international condemnation. 

Hadi Matar, 24, of Fairview, New Jersey, was arraigned late Friday, accused of attempted murder in the second degree and assault in the second degree, the county’s district attorney, Jason Schmidt, said in a statement. Matar entered a not guilty plea at a court appearance on Saturday, his court-appointed lawyer, Nathaniel Barone, told Reuters. 

Rushdie, 75, was set to deliver a lecture on artistic freedom at Chautauqua Institution in western New York when police say Matar rushed the stage and stabbed the Indian-born writer, who has lived with a bounty on his head since his 1988 novel “The Satanic Verses” prompted Iran to urge Muslims to kill him. 

Following hours of surgery, Rushdie was on a ventilator and unable to speak as of Friday evening, according to his agent, Andrew Wylie. The novelist was likely to lose an eye and had nerve damage in his arm and wounds to his liver, Wylie said in an email. 

The stabbing was condemned by writers and politicians around the world as an assault on freedom of expression. In a statement on Saturday, President Joe Biden commended the “universal ideals” that Rushdie and his work embody. 

“Truth. Courage. Resilience. The ability to share ideas without fear,” Biden said. “These are the building blocks of any free and open society.” 

Police seek a motive 

Police said on Friday they had not established a motive for the attack. 

An initial law enforcement review of Matar’s social media accounts showed he was sympathetic to Shiite extremism and Iran’s Islamic Revolutionary Guard Corps (IRGC), although no definitive links had been found, according to NBC New York. 

The IRGC is a powerful faction that controls a business empire as well as elite armed and intelligence forces that Washington accuses of carrying out a global extremist campaign. 

Asked to comment on the case, Matar’s lawyer Barone said, “In cases like this, I think the important thing to remember is people need to keep an open mind. They need to look at everything. They can’t just assume something happened for why they think something happened.” 

A preliminary hearing in the case is scheduled for Friday, he said. 

 

Suspect born, raised in U.S. 

Matar was born in California and recently moved to New Jersey, the NBC New York report said, adding that he had a fake driver’s license on him. He was arrested at the scene by a state trooper after being wrestled to the ground by audience members. 

Witnesses said he did not speak as he attacked the author. Rushdie was stabbed 10 times, prosecutors said during Matar’s arraignment, according to The New York Times. 

FBI officials went to Matar’s last listed address, in Fairview, a Bergen County borough just across the Hudson River from Manhattan, on Friday evening, NBC New York reported. 

Police in New York declined to comment on the report. New Jersey police did not immediately respond to a request for comment on the report. 

There was no visible police presence on Saturday at the house, a two-story brick-and-mortar home in a largely Spanish-speaking neighborhood. A woman who entered the house declined to speak to reporters gathered outside. 

 

Bounty on his head 

Rushdie, who was born into a Muslim Kashmiri family in Bombay, now Mumbai, before moving to Britain, has long faced death threats for “The Satanic Verses,” viewed by some Muslims as containing blasphemous passages. The book was banned in many countries with large Muslim populations. 

In 1989, Ayatollah Ruhollah Khomeini, then Iran’s supreme leader, pronounced a fatwa, or religious edict, calling on Muslims to kill the author and anyone involved in the book’s publication for blasphemy. Hitoshi Igarashi, the Japanese translator of the novel, was stabbed to death in 1991 in a case that remains unsolved. 

There has been no official government reaction in Iran to the attack on Rushdie, but several hardline Iranian newspapers praised his assailant. 

Iranian organizations, some linked to the government, have raised a bounty worth millions of dollars for Rushdie’s killing. Khomeini’s successor as supreme leader, Ayatollah Ali Khamenei, said as recently as 2019 that the fatwa was “irrevocable.” 
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Iranians reacted with praise and worry Saturday over the attack on novelist Salman Rushdie, the target of a decades-old fatwa by the late Supreme Leader Ayatollah Ruhollah Khomeini calling for his death.

It remains unclear why Rushdie’s attacker, identified by police as Hadi Mattar of Fairview, New Jersey, stabbed the author as he prepared to speak at an event Friday in western New York. Iran’s theocratic government and its state-run media have assigned no motive to the assault.

But in Tehran, some willing to speak to The Associated Press offered praise for an attack targeting a writer they believe tarnished the Islamic faith with his 1988 book The Satanic Verses. In the streets of Iran’s capital, images of the late Ayatollah Ruhollah Khomeini still peer down at passers-by.

“I don’t know Salman Rushdie, but I am happy to hear that he was attacked since he insulted Islam,” said Reza Amiri, a 27-year-old deliveryman. “This is the fate for anybody who insults sanctities.”

Others, however, worried aloud that Iran could become even more cut off from the world as tensions remain high over its tattered nuclear deal.

“I feel those who did it are trying to isolate Iran,” said Mahshid Barati, a 39-year-old geography teacher. “This will negatively affect relations with many — even Russia and China.”

Khomeini, in poor health in the last year of his life after the grinding, stalemate 1980s Iran-Iraq war decimated the country’s economy, issued the fatwa on Rushdie in 1989. The Islamic edict came amid a violent uproar in the Muslim world over the novel, which some viewed as blasphemously making suggestions about the Prophet Muhammad’s life.

“I would like to inform all the intrepid Muslims in the world that the author of the book entitled ‘Satanic Verses’ … as well as those publishers who were aware of its contents, are hereby sentenced to death,” Khomeini said in February 1989, according to Tehran Radio.

He added: “Whoever is killed doing this will be regarded as a martyr and will go directly to heaven.”

Early on Saturday, Iranian state media made a point to note one man identified as being killed while trying to carry out the fatwa. Lebanese national Mustafa Mahmoud Mazeh died when a book bomb he had prematurely exploded in a London hotel on Aug. 3, 1989, just over 33 years ago.

At newsstands Saturday, front-page headlines offered their own takes on the attack. The hardline Vatan-e Emrouz’s main story covered what it described as: “A knife in the neck of Salman Rushdie.” The reformist newspaper Etemad’s headline asked: “Salman Rushdie in neighborhood of death?”

But the 15th Khordad Foundation — which put the over $3 million bounty on Rushdie — remained quiet at the start of the working week. Staffers there declined to immediately comment to the AP, referring questions to an official not in the office.

The foundation, whose name refers to the 1963 protests against Iran’s former shah by Khomeini’s supporters, typically focuses on providing aid to the disabled and others affected by war. But it, like other foundations known as “bonyads” in Iran funded in part by confiscated assets from the shah’s time, often serve the political interests of the country’s hardliners.

Reformists in Iran, those who want to slowly liberalize the country’s Shiite theocracy from inside and have better relations with the West, have sought to distance the country’s government from the edict. Notably, reformist President Mohammad Khatami’s foreign minister in 1998 said that the “government disassociates itself from any reward which has been offered in this regard and does not support it.”

Rushdie slowly began to reemerge into public life around that time. But some in Iran have never forgotten the fatwa against him.

On Saturday, Mohammad Mahdi Movaghar, a 34-year-old Tehran resident, described having a “good feeling” after seeing Rushdie attacked.

“This is pleasing and shows those who insult the sacred things of we Muslims, in addition to punishment in the hereafter, will get punished in this world too at the hands of people,” he said.

Others, however, worried the attack — regardless of why it was carried out — could hurt Iran as it tries to negotiate over its nuclear deal with world powers.

Since then-President Donald Trump unilaterally withdrew America from the accord in 2018, Tehran has seen its rial currency plummet and its economy crater. Meanwhile, Tehran enriches uranium now closer than ever to weapons-grade levels amid a series of attacks across the Mideast.

“It will make Iran more isolated,” warned former Iranian diplomat Mashallah Sefatzadeh.

While fatwas can be revised or revoked, Iran’s current Supreme Leader Ayatollah Ali Khamenei who took over after Khomeini has never done so.

“The decision made about Salman Rushdie is still valid,” Khamenei said in 1989. “As I have already said, this is a bullet for which there is a target. It has been shot. It will one day sooner or later hit the target.”

As recently as February 2017, Khamenei tersely answered this question posed to him: “Is the fatwa on the apostasy of the cursed liar Salman Rushdie still in effect? What is a Muslim’s duty in this regard?”

Khamenei responded: “The decree is as Imam Khomeini issued.”
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A painter in orange overalls touches up the image of a hand holding a rifle while an artist perched on scaffolding painstakingly places bits of colorful ceramic in a mosaic of a guerrilla fighter.

The artists aren’t just decorating a wall: Together, they are helping to revive muralism, a movement that put Mexico at the vanguard of art a century ago.

Just as their famous predecessors did shortly after the Mexican Revolution, teachers and students of the Siqueiros School of Muralism are on a mission to keep alive the practice of using visual imagery to share messages of social and political importance.

The mural in progress is on three walls of a municipal building in San Salvador, a small town of about 29,000 people north of Mexico City in Hidalgo state. The Siqueiros School is based in a converted elementary school in the nearby hamlet of Poxindeje, and one of its co-founders is Jesús Rodríguez Arévalo, a pupil of disciples of Mexico’s three muralism masters: Diego Rivera, David Alfaro Siqueiros and José Clemente Orozco.

“The school is small, a humble space, but it is very serious, and it is professional,” Rodríguez said.

One hundred years ago, Rivera, Siqueiros and Orozco also started out at a colonial-era school-turned art laboratory. It was 1922, and they were charged with fulfilling the then-Mexican education minister’s mission to take art out of the galleries and into public spaces. The plan, part of a national literacy campaign sponsored by the national government, transformed Mexico and permeated the entire continent.

The artists’ manifesto was to make “ideological propaganda for the good of the people” and give art “a purpose of beauty, of education and combat for all.”

They identified with the agrarian and proletarian revolutions and mingled with European artists who fled to Mexico from both world wars. Sponsored by the government, they had access to the country’s most majestic buildings and the necessary resources to experiment with new techniques. Eventually, they began to paint in other nations: Argentina, Chile, Cuba and the United States among them.

Despite the backing of Mexican political leaders, their work turned out to be too provocative in some places outside the country: A mural Rivera painted in New York’s Rockefeller Center was censured and then demolished because it glorified communism.

“We are a bit more cowardly,” said Ernesto Ríos Rocha, 53, a muralist who is currently trying to found Mexico’s first muralism university in the Pacific coast state of Sinaloa. “We talk more about peace.”

The murals being created in San Salvador and other small towns today still have much in common with those created in the early 20th century, however: They encapsulate themes of war, injustice and oppression — as well as 21st century issues such as climate change and violence against women.

But Rodríguez and his students don’t anticipate monumental reverberations from their work. Their aspirations are lower and their income more modest, coming mostly from local governments that commission them to paint murals and support from community members who donate meals and house foreign students.

The Poxindeje school bets on recycling and reusing discarded materials donated by glassmakers or flooring manufacturers, said Janet Calderón, who co-founded the Siqueiros School with Rodríguez five years ago. They’re even making murals from garbage.

Luz Asturizaga, a 36-year-old sculptor from Bolivia, has enjoyed every moment of her stay in the iconic home of muralism. She wasn’t able to learn much about the art form in her own country, where she said professional artists’ circles are very closed. In Mexico, “they give you opportunity, they teach you,” she said.

Few students have completed training at the school — about 40 since it opened five years ago — but all leave with clear ideas instilled by their instructors: “Go to the communities, teach, carry out a comprehensive work of historic themes, of social content, of criticism of everything that oppresses man,” Rodríguez said.

The first step for the artists is to decide what elements they want to include, what metaphors to lay out. Then they build a sort of collage of portraits and photographs of historical figures whom they want to immortalize.

Composition and perspective are key. Dressed in paint-splotched jeans, his black hair tied back in a ponytail, the 54-year-old Rodríguez closes one eye in front of the mural in progress in San Salvador, and with the other glances through a transparent sheet of paper containing sketches of figures intended for the wall. The goal is to calculate the right scale, taking into account from where and what distance people will be viewing the work.

“You have to know local history and then begin with the sketches,” said Luis Manuel Vélez, 52, a worker for Mexico’s national oil company who spends his weekends painting murals.

Sometimes models for the work come from the neighborhood. A 6-year-old girl passing by the mural in San Salvador pointed and smiled before exclaiming: “That’s me and my grandpa.”

Purists have long lamented that starting in the late 20th century, muralism was replaced by urban art or short-lived graffiti.

Ríos Rocha agrees but is still optimistic.

“Muralism is in intensive care, but it is not going to die,” he said.

Historian David Martínez Bourget is a researcher at the 88-year-old Bellas Artes Museum, a palatial art nouveau performing arts center in Mexico City whose interior walls are graced with famous murals by Rivera, Siqueiros and Orozco.

Martínez Bourget said the art movement that the fathers of muralism began in the 20th century is over, but its spirit remains — not just in Poxindeje and San Salvador — but also in marginalized Chicano communities in the western United States and in Zapatista villages in southern Mexico. In both places, public art displays capture the communities’ history and rebellion, he noted.

As long as people are fighting for social justice, this kind of artistic expression will exist, Martínez Bourget says, because in difficult moments “art is politicized.”
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