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|description_of_incident=The painting was included in the Whitney Museum of American Art's 2017 Biennial exhibition in New York City. The controversy was sparked shortly after the exhibition opened to the public, when artist Hannah Black wrote a blog post calling not only for the painting's removal but also its destruction so that no one would ever be able to make money from it again. Performance artist Parker Bright staged a daily protest in front of the painting blocking its view while wearing a t-shirt with the words BLACK DEATH SPECTACLE on the back. More protests ensued. | |description_of_incident=The painting was included in the Whitney Museum of American Art's 2017 Biennial exhibition in New York City. The controversy was sparked shortly after the exhibition opened to the public, when artist Hannah Black wrote a blog post calling not only for the painting's removal but also its destruction so that no one would ever be able to make money from it again. Performance artist Parker Bright staged a daily protest in front of the painting blocking its view while wearing a t-shirt with the words BLACK DEATH SPECTACLE on the back. More protests ensued. | ||
The controversy was heavily covered in both the art press and major news platforms, with well-developed arguments coming from all sides (some of which has been excerpted | The controversy was heavily covered in both the art press and major news platforms, with well-developed arguments coming from all sides (some of which has been excerpted here: http://ncac.org/blog/your-primer-on-the-whitney-biennial-controversy-a-timely-and-necessary-exchange) | ||
Many consider Emmett Till to be part of the sacred historical heritage of African Americans and this particular photograph of his corpse to be iconic, and therefore off limits. Hence, Schutz's representation of it in a painting was felt to be a particularly egregious act of the ongoing phenomenon of white cultural appropriation of black trauma "for fun an profit" (cf: Hannah Black). | Many consider Emmett Till to be part of the sacred historical heritage of African Americans and this particular photograph of his corpse to be iconic, and therefore off limits. Hence, Schutz's representation of it in a painting was felt to be a particularly egregious act of the ongoing phenomenon of white cultural appropriation of black trauma "for fun an profit" (cf: Hannah Black). | ||