Brexit has highlighted that Britain is a divided nation. Having voted Remain, I was shocked and saddened by a minority of powerful metro-elite pro-EU supporters who have steadfastly refused to acknowledge the legitimacy of the result. It was their vitriol against working-class voters that has led me to rethink many of my previously held assumptions.
I recently had an interesting discussion on race and political correctness with a black friend I shall describe as a political agnostic. A successful banker by day, he called me to complain about a black work colleague who, when recently stopped by a white traffic cop for breaking a driving rule in London, had promptly whipped out the race card: ‘Why did you stop me? Is it because you saw a black man driving an expensive car?’
Over a number of years, the artist, Franklyn Rodgers, photographed his mother Loretta and her close circle of friends, building up an extraordinary series of large-scale portraits. The size and grandiosity of the works combine with a remarkable intimacy, achieved by the artist’s close relationships with these women.
It has long been a curatorial fantasy of mine to organise a re-staging of a boxing match that took place in 1972 between the German artist Joseph Beuys, regarded as a giant of modern art, with a local art student of his.
Race, region, gender identity and sexuality are what matter in this culture war waged by the social justice warriors.
Our values today are being driven not by morality, rationality or philosophy but by the harsh, crude and bitter outpourings of petulant and snarling individuals.
But the EU is a very modern empire which extends its power through regulation and bureaucracy not with armies.
We need a debate about the curriculum and the knowledge we teach pupils in schools and later on at university level.
The decolonising the curriculum movement isn’t it.