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Who’s afraid of Cultural Marxism?

Just in case the significance of Braverman’s interjection was missed, Foster was on hand to explain in a follow-up tweet: ‘”Cultural Marxism” .
A member of government using it and linking it to Labour is really worrying.And, in part, Foster is right. The phrase cultural Marxism does potentially allude to an anti-Semitic conspiracy theory.It is not the same thing as cultural Bolshevism, the term the Nazis used for art, especially avant-garde and modernist art, that did not conform to their vision of blonde boys and rustic kitsch. Rather, its provenance is much more recent, emerging as it did, on the loonier right-wing fringes of the Culture Wars of the 1980s and 1990s; in the speeches, essays and books of William S Lind, who claimed the Jewish emigres of the Frankfurt School had set in motion the destruction of ‘Western culture and the Christian religion; and in Patrick Buchanans 2001 jeremiad The Death of the West, which, again, blamed a long-line of Marxian, Jewish thinkers for undermining, well, Western civilisation.

All of which was taken up, and imbibed, by Norweigian mass murderer Anders Breivik, whose turgid and surely unread 1,500-page manifesto references cultural Marxist and cultural Marxism nearly 650 times, according to word searches.Since then, this theory, such as it is, has continued to be propagated from the bedrooms of the alt-right, and given a largely oblivious endorsement by Jordan Peterson, who, in 2016, retweeted a Daily Caller article by Moses Apostaticus, in which Mr Apostaticus notes the historical subversion of the nuclear family, traditional morality and concepts of race, gender and sexual identity, before attributing blame:This call to subversion was picked up by Marxist scholars based around the Institute for Social Research in Frankfurt, Germany.

In the tumultuous milieu of Weimar Germany, theorists such as Max Horkheimer, Herbert Marcuse, Erich Fromm, Theodor Adorno and Georg Lukács integrated the theories of Sigmund Freud with classical Marxism to develop the foundations of critical theory, deconstructionism, post-structuralism and postmodernism. Known as the Frankfurt School, many of these intellectuals fled Hitler’s Germany for the United States where they were welcomed by Progressives and socialist intellectuals.

The theories of the Frankfurt School unified the vanguard of the 1960s countercultural movement and have since spread to every discipline in our universities, colleges and schools. These theories, which obsess about colonisation, subjugation and oppression, have indeed colonised higher education in the West.
Its not true, of course. Postwar Western society was not undermined from without, by some sort of Freudo-Marxist diaspora.
It was already undermined from within, already suffering a crisis of legitimacy, moral and political, faced, as it was, by the chronic failures of prewar laissez-faire capitalism, the horrors of the war, and, of course, the Holocaust itself.As for the intellectual history, its just nonsense.Lukács was a committed Communist who later endured a vexed relationship with Stalinism; and the Frankfurt School were resolutely anti-Communist, with Adorno famously publishing a critique of Lukács in 1958 in, of all anti-Western places, the CIA-sponsored journal Der Monat.

Yes, Marx and Freud were significant influences on all, but equally, if not more, significant were Kant and Hegel, Nietzsche and Weber, and, in the case of Marcuse, Martin Heidegger, who taught him in the 1920s.But that, of course, would ruin the daft contention that there was something specifically Jewish about all this cultural Marxist malarkey.So cultural Marxism, in this sense, is as unpleasant as it is asinine, even by the standards of right-wing conspiracy theory.

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PICS: US military airlifting food and other humanitarian aid supplies from Durban to Mozambique

The US military join in the disaster relief efforts getting food and other humanitarian aid supplies to thousands of those affected and displaced.
Spokesperson for the US mission in South Africa, Rob Mearkle, said the US Consul General, Sherry Zalika Sykes, visited King Shaka International Airport on Sunday to view yet another shipment of food and other supplies from the UN World Food Programme (WFP).Mearkle said the US Air Force was providing airlift support in South Africa for the USAID-led humanitarian response to cyclone Idai. He said the first batch of supplies were jetted out of Durban on Saturday.
The South African Department of International Relations and Cooperation (Dirco) and the South African National Defense Force (SANDF) expedited the necessary authorisations for the airlifts, while “invaluable assistance” had been provided by Swissport, Dube Port Cargo, Skytanking, BidAir and Airports Company South Africa (ACSA), Mearkle said.He said the commodities that were being airlifted from Durban were from WFP’s internal stock.
“Separately from these shipments, the United States has provided nearly $3.4m in additional funding for the WFP to deliver approximately 2 500 metric tons of rice, peas, and vegetable oil to affected people in Sofala, Zambezia, and Manica provinces.
This lifesaving emergency food assistance will support approximately 160 000 people for one month,” Mearkle said.”To date, the US government has provided nearly $7.3m (R105m) in humanitarian assistance to help people in Mozambique, Zimbabwe, and Malawi who have been affected by Cyclone Idai, as well as flooding that occurred earlier this month. This includes more than $6.5 million from USAID.”Supplies loaded into US military aircrafts in Durban this morning.

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Florida State students curate exhibit of Polynesian women’s art

Florida State University’s College of Fine Arts and the Jim Moran School of Entrepreneurship Textile and Apparel Historic Costume Collection.
The exhibit, which opens April 4 at the William Johnston Building gallery, is the culmination of a semester of work by the Museum Objects class taught by Associate Art History Professor Kristin Dowell.In Dowell’s class, students learn about the history, practice and implications of displaying objects in museums and galleries. This hands-on opportunity gives students the chance to curate, design and mount pieces in an art show.One of the two large tapas made its way to the United States after a Samoan man gifted it to a U.S.Marine stationed in Samoa during World War II. The other barkcloth was collected by former FSU Professor of Art History Jehanne Teilhet-Fisk and added to the archive.Barkcloths are integral to the Polynesian culture as women express their creativity and artistic skill through creating and decorating the textiles. The barkcloths also play an integral role in the daily lives of the Polynesian people as they are transformed into cloths, grass skirts, mats and more.

The textiles are often sacred to social events including weddings, births and deaths.The work of the Polynesian women reflects the environment, culture, community, gender roles and art of their people.The pieces displayed are highly valued and many are an important aspect of ceremonial and cultural events.This vibrant exhibit will provide insight on the lives of the women who created the textiles and is a unique opportunity to learn about an important cultural tradition.An opening reception will take place from 5-7 p.m.Thursday, April 4, and the exhibit will run through Monday, April 22. The William Johnston Building gallery is open from 10 a.m. to 4 p.m. Tuesday through Friday.

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Your weekend arts forecast: A feast for the eyes (and ears)

Petersburg Museum of Fine Arts, A Feast For the Eyes: European Masterpieces From the Grasset Collection is an exhibition of 40 baroque-era oil paintings – brilliant, beautiful and lyrical works from the likes of 17th and 18th century masters van Dyck, Canaletto, Brueghel the Elder, de Velde and others.The masterworks are from the private collection of Juan Manuel Grasset, of Madrid, Spain. The 90-year-old art collector attended a media preview of the exhibition, accompanied by several members of the extended Grasset family, Thursday.His daughter Christina explained that the St. Pete visit is only the second time Grasset’s collection has gone on loan in the United States; indeed, it was previously at the San Diego Museum of Art,  in 2016.

Jan Davidsz. de Heem, Dutch, 1606-1683/4 Still Life of flowers in a glass vase in a stone niche, Oil on oak panel Christina Grasset detailed the collection’s backstory: “My father bought these paintings over the course of 50 years.I think there are four Spanish painters, but everything else is Dutch and Flemish. Or Italian.And so he would buy these paintings in London, or in Paris, and then bring them back to his home in Madrid.”Over the course of many years, she continued, “like any true collector, it’s very difficult for them to stop! They will see another painting, they fall in love, and they have to have it.
My parents have a fairly large home in Madrid, but we got to a point where the paintings were on the floor and stacked against the walls.“It took a very long time to convince him to part with the paintings, because they’re objects that he loves.

But we finally convinced him that they would be much better in a museum. And this is where the paintings look their best.”Frail and wheelchair-bound, but smiling and looking dapper nonetheless, Juan Manuel Grasset offered a quick compliment to the Museum of Fine Arts. “I think I never saw the collection as brilliantly displayed as it is here,” he said.The Grasset collection consists almost entirely of landscapes and still lifes of flowers, fruit bowls and laden banquet tables, along with other bounties. MFA Curator of Exhibitions and Collections Stanton Thomas asked Grasset about this.

“None of the grand traditions of Spanish portrait portraiture, or religious paintings or battle scenes appealed to him,” Thomas said. “He has almost no images of people.”Thomas – and others who’ve examined and thought deeply about the collection – developed a theory. “The thought is that these very beautiful, very lyrical, very escapist pictures might be a reflection of his youth, which was during a very difficult time,” the curator explained.“It was right after World War II, there wasn’t a lot around. These are kind of a reaction to the hardships of his youth.“There’s a beautiful logic to the paintings – people enjoying themselves out in the country, or beautiful flowers, or feasts. They would have been an enormous contrast to what people would have experienced in post-World War II Spain.”Juan Manuel Grasset, seated, talks with the media at the Museum of Fine Arts March 21. At far right is his daughter Christina.

Photo by Bill DeYoung.Thomas will conduct a Gallery Talk on the exhibition from 3 to 4 p.m. Sunday, March 24.A Feast For the Eyes: European Masterpieces From the Grasset Collection will remain at the museum through July 28.And now, thisOf course, the 2nd annual St.Petersburg Tiny Home Festival is Saturday and Sunday. Everything you need to know is here.Brad PaisleyNice cross-section of popular music this weekend, including country legend Clint Black (tonight at the Mahaffey), Chicago (or what’s left of the band that was once the mighty Chicago) at Ruth Eckerd Hall tonight, and yet another country star, Brad Paisley (Valspar Live! at the Osprey Driving Range in Palm Harbor Saturday – details here).The Palladium’s got the Boogie Woogie Blues Piano Stomp Saturday (here’s what we wrote about it) and country’s Mickey Gilley Sunday.

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Who’s who of the largest fashion associations in the world?

Ralph Toledano, Gary F. Simmons, Andrea Illy, Guillaume de Seynes and Michael Ward are some of the names that are at the front line of the largest ,Simmons, Andrea Illy, Guillaume de Seynes and Michael Ward are some of the names that are at the front line of the largest associations in the fashion industry all over the world.
Now the list has just added a new name: Tom Ford, new president of the Council of Fashion Designers of America (CFDA). Ford takes over Diane von Fustenberg’s position, who left office after thirteen years as head of the organization.All countries that have a solid fashion industry have its own fashion association, which is responsible for the representation and defense of the sector, lobbying and organizing, in most cases, the fashion weeks of each country. The association structure of each market is, in turn, a reflection of the history and the current scenario of fashion in each country: from haute couture in France to retail in the United States.
Founded in 1962 by Eleanor Lambert, the CFDA was born with the aim of intensifying the impact of US fashion in the global economy. The association represents more than five hundred fashion brands of the North American country specialized in womenswear, menswear or accessories.

In addition to organizing its annual awards that recognize the talent in the sector, the CFDA is also owner of the Fashion Calendar and organizes the New York Men’s Fashion Week. Sydney Wragge, Norman Norell, Oscar de la Renta, Herbert Kaspwer, Mary McFadden, Perry Ellis, Carolyne Roehm, Stan Herman and Diane von Fustenberg, who just passed the baton to Tom Ford, are all the names that have gone through the presidency of CFDA since its inception.Tom Ford, current president of the Council of Fashion Designers of America (CFDA).The rest of the board of directors of the CFDA consists of Michael Kors, Marcus Wainwright (rag bone), Mimi So (responsible for the namesake brand) and Vera Wang.Among the members of the association committee are designers and entrepreneurs such as Tommy Hilfiger, Ralph Lauren, Ashley Olsen and Georgina Chapman.Another of the major fashion groups in the United States are the American ApparelFootwear Association (AAFA), which helps companies to navigate the complex regulatory environment and reduce costs, and the United States Fashion Industry Association (USFIA), which operates with the aim of removing the tariff and non-tariff barriers that prevent the fashion industry to freely trade and create employment.

Both have among their members companies such as VF, Under Armour, PVH, Levi Strauss or American Eagle.Besides, in the United States there are other large associations that gather retail companies and have a great amount of fashion groups.That is the case of the National Retail Federation (NRF) and the Retail Industry Leaders Association (RILA).Ralph Toledano, president of the Fdration de la Haute Couture et de la Mode.France has one of the earliest associations in the sector: the Fdration de la Haute Couture et de la Mode, created in 1973, but whose origins go back to the oldChambre Syndicale de la Haute Couture Parisienne, which was created in 1868.The organization currently includes three unions that manage the different areas of the sector: the Chambre Syndicale de la Haute Couture, the Chambre Syndicale de la Mode Masculine and the Chambre Syndicale du Prt–Porter des Couturiers et des Crateurs de Mode.

The organization, which has more than one hundred members, is in charge of fostering the creation and international development of its members.At the head of the federation is Ralph Toledano, a historical manager of the sector who, during his career, has led companies such as Chlo, Guy Laroche and Karl Lagerfeld, as well as the fashion division of Puig.Currently, he is chairman of the board of Victoria Beckham.The rest of the members of the board of the Fdration de la Haute Couture et de la Mode are other heavyweights of the fashion industry: Francesca Bellini, president and CEO of Yves Saint Laurent; Guillaume de Seynes, vice president of Herms; Bruno Pavlovshy, president of the Chanel fashion division; Sidney Toledano, president and CEO of LVMH Fashion Group and Pascal Morand, executive president of the organization.
Stephane Phair, president of the British Fashion Council.The United Kingdom also has an association dedicated to protecting the interests of fashion companies in the country, the British Fashion Council, which defines itself as an organization committed to developing excellence and growth in a sector that is a significant contributor to the British economy.The head of the British Fashion Council is Stephanie Phair, director of strategy at Farfetch, who replaced Natalie Massenet, founder of Net-a-Porter. Communications specialist Caroline Rush, designer Anya Hindmarch, journalist Dylan Jones and businessman David Pemsel are the other members of the management committee of the British institution.
In Italy, the association of the sector is Sistema Moda Italia, which is part of Confindustria.The organization is chaired by Mario Vago, co-owner of the eponymous company specialized in dying and spinning.The cluster was born in 2017 with the objective of boosting Italian fashion brands and bringing together all members of the textile, footwear, accessories, optics, leather, gold, furniture and decoration sectors to reinforce the signature made in Italy.Christiane Arp, president of the Fashion Council Germany.
In Germany, meanwhile, launched in 2015 the Fashion Council Germany, founded with the aim of fostering and establishing German fashion as a cultural and economic asset following the footsteps of similar organizations in the United Kingdom and France. Christiane Arp, editor-in-chief of Vogue Germany, chairs the organization.The guardians’ of luxuryHigh-end fashion, on the other hand, has its own associations, focused on the preservation of the interests of the luxury industry. The largest of these is the Colbert Committee, created in 1954 by Jean-Jacques Guerlain to group the cultural institutions and luxury brands in France.
The association has 81 members from sectors such as fashion, gastronomy or the decorative arts. At the head of the Colbert Committee is Guillaume de Seynes, vice president of Herms.
In Italy, its counterpart is the Altagamma foundation, launched in 1992 and which currently has more than 120 members. Its current president is Andrea Illy, of Illy Caff, and its honorary president is Leonardo Ferragamo.The luxury business also has its own association in the United Kingdom, Walpole, founded in 1992 and which has more than 210 British brands among its members. The association is chaired by Michael Ward, CEO of Harrods.Spain also has its own luxuryassociations, Crculo Fortuny, chaired by Carlos Falc. The association, which is part of the European group of luxury associations together with the previous three, has almost 40 members, of which 6 are fashion companies.

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