In England, the Puritans were hounded and persecuted by the Anglican Church and the Stuart Monarchy. Church and state were joined at the hip then, so the crime of sedition was, at the same time, heresy. Yet when the Puritans came here, they oppressed religious dissenters, the Quakers, with a vigor equal to that of their English enemies. How quickly the persecuted become the persecutors.
In England, the Puritans were hounded and persecuted by the Anglican Church and the Stuart Monarchy. Church and state were joined at the hip then, so the crime of sedition was, at the same time, heresy. Yet when the Puritans came here, they oppressed religious dissenters, the Quakers, with a vigor equal to that of their English enemies. How quickly the persecuted become the persecutors. <|startoftext|>Breech Street at noon, January 31st, 1969, is a kind of blank, barren desert, a remarkably naturalized site whose name is itself an ironic comment on the non-biological. The desert is a place where nature, with all its stench, and life, with all its vitality, coexist. That it is the home of the Black Panthers is one of the most surprising truths of the present era. While their work with the Black Panthers and other anti-Vietnam conflict groups in the 50s was entertaining, their political impact was rather dulled, as the political transformation of the 1960s by the Black Panthers and their allies took place in the US.The events of the Black Panther Party and of the V.A.C.T. anti-Communist underground are remembered in more than one way by the black community in South Boston, Boston, which was the subject of a recent series of exhibition at the local gallery, Which is not to forget, Boston: Selected Works from the Boston Area Art Museum. This show is an introduction to the work of the Black Panthers and their allies. Many of the works on view are either single-page or large-scale pieces, often painting the same style and motifs as the members of the group, most of which are members of the Black Panthers. There are also large-scale works by Joness, Echols, Landor, Deacons, and the artist Trisha Brown, among others.What makes the show so valuable is the lack of any fixed style or ideology. It is a celebration of the diverse ways in which black life has changed through the work of individuals, often untrained, many of whom are not well known or in any case not widely known.
In England, the Puritans were hounded and persecuted by the Anglican Church and the Stuart Monarchy. Church and state were joined at the hip then, so the crime of sedition was, at the same time, heresy. Yet when the Puritans came here, they oppressed religious dissenters, the Quakers, with a vigor equal to that of their English enemies. How quickly the persecuted become the persecutors. <|startoftext|>The first quarter of the nineteenth century was a century of violence in Scotland, where Charles II, the King of Ireland, was the first leader of the Scottish National League (SNL) to be declared guilty of treason, and sentenced to life imprisonment. The year of execution was August 18, 1807, a little more than a year after the Scots had been defeated in the Civil War, a year after the Protestants had been granted the franchise. The king had no choice but to give up to the state for Scotland, and the new king, George I, proclaimed an emergency, to remove all statues and monuments from Westminster Hall and the gardens of Parliament. Another was designated a national monument in 1810 and dedicated to Lord Aberdeen, the last of the Scottish monarchs to have become a full-fledged monarch. The monument became the National Museum in 1812, the city's first museum in the English age of public ownership.When a minority government collapsed in 1813, new powers were claimed by the powerful New Social Nationalist faction, who organized an elaborate, revolutionary festival to celebrate the formation of the Scottish National League. This anti-monument was named after a renowned Scots poet and political thinker, John of Gaunt, who wrote in 1816 that an insurrection against a government that did not know what to do with the country was an essential thing in the coming of an insurrection against monarchy. The Easter Rising, led by one of the most violent young people in Scotland, Charles Gairdner, fought the Scottish National League to the bitter end. Gairdners death in 1818 was followed by another, this time by the rebellious Alex Greer, who, with his own blood, won the independence for Scotland in 1814.
In England, the Puritans were hounded and persecuted by the Anglican Church and the Stuart Monarchy. Church and state were joined at the hip then, so the crime of sedition was, at the same time, heresy. Yet when the Puritans came here, they oppressed religious dissenters, the Quakers, with a vigor equal to that of their English enemies. How quickly the persecuted become the persecutors. My people are under; but, saith the gospel, have no fear, for our enemies are not in the country, where they have not yet fallen into the hands of their government, the Devil. King Philip took many of these people into his kingdom and baptized them in the name of the king, who is the Lord. Now in England this is a treasonous act, since the king is the prince. The king would surely have had to be dethroned and removed from power to be considered a traitor, but the king was not dethroned, for he is still the prince. In the American church, this action would have been treasonous in itself, and many thought the leaders of the church should be executed. King Philip gave many of these people the privilege of becoming martyrs. Their martyrdom was more than an act of charity, for the king of England was the only one who ever gave the gift of forgiveness.There are many reasons why we think the practice of sedition is treasonous in America. For example, one of the most powerful forces in America today is the media. The media provides the American people with a source of propaganda, which gives them an emotional high to gain from their suffering. America now has an empire, and if the media could not be trusted, the people of America would not be able to stand up for what they believe in. And one of the great crimes of the modern world is to allow the people to believe that there is no God, only a mob. It is this crowd that America has been terrorizing and persecuting, and they are continuing to be terrorized. The media is the greatest tool for the mob in America today. But the media is not the only means that the mob uses to terrorize the people. The mob has used every trick imaginable to eliminate the innocence of the American people in an effort to dominate and control them. The mob always uses fear as an instrument of domination.
In England, the Puritans were hounded and persecuted by the Anglican Church and the Stuart Monarchy. Church and state were joined at the hip then, so the crime of sedition was, at the same time, heresy. Yet when the Puritans came here, they oppressed religious dissenters, the Quakers, with a vigor equal to that of their English enemies. How quickly the persecuted become the persecutors. <|startoftext|>Chadwick Burden is a California painter, designer, and writer. He is the most important Southern painter of the modern period in the American West Coast scene, and the father of the new California abstractionists.The surface is bared in some of his best-known canvases. The largest, the Janitor (all works 2000), has a close-up of a city city skyline, with the whites and blues of its red-orange suburbs in the foreground. The next drawing, a more abstract picture, features a single figure—the artist—in the foreground. The image consists of a detailed, bluish-gray profile of a person sitting in front of a green and brown-tinted landscape, and a small figure in the background. The drawing is evocative and enigmatic, almost like a diary entry of the past.These paintings are very personal. Burdens faces are often and realistically painted on thickly textured paper. Some of the portraits are of people in public settings, like those on the cover of Time Out New York. In the former, we see the woman who usually acts as a guard at the entrance to the museum, her blank expression in profile as she stares at us. In the latter, the artist is the subject of an almost mirror image. The image is of a male figure, his arms raised, looking at us with a smile. The two figures are reversed, with the black hand of the victim showing through in the middle. One shows his face over the open palms of the upper arm of the victim; the other hands his own face, his face that is red. These masked, hooded figures are caricatures of political and social underpinnings, from the repression of African American and gay men to the inequality of the rich and poor in America. Burdens paintings are a life-size representation of his own childhood, as the artist recalls in one drawing.
In England, the Puritans were hounded and persecuted by the Anglican Church and the Stuart Monarchy. Church and state were joined at the hip then, so the crime of sedition was, at the same time, heresy. Yet when the Puritans came here, they oppressed religious dissenters, the Quakers, with a vigor equal to that of their English enemies. How quickly the persecuted become the persecutors. <|startoftext|>The story of the founding of A.R. Penck and his contemporaries might be taken as an epilogue to his own life. It is an autobiography of power and privilege—the power of the blood-soaked field of battle, the privilege of having lived long enough to experience the trauma of war. Not many people can recall the traumatic events Pencks experiences, which include the capture of helpless human beings and the horror of the burning, decay-strewn battlefield. In my recent interviews, Pencks revealed a complicated reality that is even more hidden than he has described it, and the history of his country, with which he is undoubtedly intimately familiar, must be understood.A brief documentary history of Pencks career, particularly in the period just after World War II, is well worth your time. He was born into a privileged and influential family in 1921. The third generation of Penskeller students came from the West German and French middle class, and his father was a former officer in the National Socialist regime. Through the years Penck attended the French Military Academy, and in 1940 was enlisted in the First Armored Division, one of the first British American divisions to arrive in France. The beauty of the Battle of Verdun in 1942—the famous Battle of Jilly in 1944—is emblematic of the kind of British victory Penck experienced on his return to England. There, on the Western Front, he served with the 100th and 100th Regiments of the British Army and completed the unique distinction of being the first Englishman to die in a battle with a British regiment. For Pencks, the loss of his family and friends was like losing one of his own. He felt more at home in the United States than in France, and spent most of his life in a secure American family. Picking up on the new reality of the war, he experienced it in the context of his own family.
©2024 Lucidbeaming