Tabloid Newsstands, or the futur antérieur Museum of Racism

One of the critical skills a historian of art, or indeed historian of anything, acquires is the ability to think cumulatively. This means assessing media and sources for their quotidian ongoing drip-feed effect, which, from the amnesiac day-to-day perspective of a precariously-employed member of the public pre-occupied with performance and meeting targets, comes to appear furniture-like, ‘given’ and unremarkable. Only when viewed from a considerable historical or critical distance is it possible to see that what has been normalised, regularised, and routinised within a given period in the name of ‘representation’ is very far from being a true presentation of its social content.

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