To the Editor:
Re “Parents’ Little Helpers” (Sunday Types, Oct. 4):
To be a Black mom is to be in a continuing state of alertness in the case of defending your loved ones from the federal government. As a Black lady, mom and lawyer, I’m no completely different in that regard.
Most Black moms wouldn’t publicly label themselves a “wine mother” or admit to smoking pot. Nobody remotely conscious of the federal government’s racist follow of separating Black households for such conduct by way of the so-called little one welfare system would.
You might be appropriate that substance use has been “romanticized” for white mother and father. Your article proves that it nonetheless is. Smoking pot and ingesting are seen as coping mechanisms for white households and grounds for separation for Black households. Black mother and father who admit to substance use are sometimes labeled “addicts” and despatched to remedy packages. Ninety p.c of the mother and father we defend for alleged little one neglect in New York Metropolis are Black, Indigenous or folks of colour.
You’ve requested for Black mother and father to share tales about parenting right now: Right here’s your story.
The author is litigation supervisor for presidency affairs and coverage on the Heart for Household Illustration.
The Guggenheim’s Banana
To the Editor:
Re “It’s All a Piece of Work for Museums” (Arts, Sept. 19):
Lena Stringari, the Guggenheim’s chief conservator, describes Maurizio Cattelan’s work “Comic” as “duct tape and a banana.” Duct tape isn’t any extra a part of the work than a gilded body is a part of an Previous Grasp portray. The work is simply the banana.
Considered extra broadly, nonetheless, as conceptual artwork, “Comic” may additionally be deemed to incorporate Cattelan’s nonetheless extra ironic act of depositing into his checking account the cash he bought for the banana, which bought for $120,000 final yr at Artwork Basel Miami, and maybe any accompanying laughter.
My level is to not recommend that “Comic” will not be a murals. It’s that Cattelan’s work is a trivial murals. The “ironic humor” it allegedly embodies is so trite, and the critique of artwork it arguably expresses so drained at this level within the historical past of artwork, that the Guggenheim ought to let the “work” go brown and spotty and put it within the compost.
Would works like Cattelan’s banana and Yoko Ono’s green apple be acknowledged as museum-worthy had they been provided by an unknown artist? What if the Museum of Fashionable Artwork and the Guggenheim engaged in blind evaluations of proposed purchases? Would the sly cleverness of “Comic” have been acknowledged with out understanding it was the work of a longtime artist?
In case you consider that, I’ve bought a bridge I’d prefer to promote you … however solely as a piece of conceptual artwork.
Palo Alto, Calif.