The murder of George Floyd kindles Schwartz’s nightmarish memory of the killing of a person he knew who died at the hands of the police. In all their differences, both are dramatic instances of lethal abuse by a US policeman against an unarmed victim. With shocking images.
A little over half a year into the Brexit Show, the author of the famous Article 50 that enabled it to happen talked to the Dutch journalist Melle Garschagen, for a piece that appeared in NRC Handelsblad on 4 January 2017. It led me to write to this distinguished diplomat and peer, whose reply to me is the provisional highpoint in my interaction with the powers that be.
The inspiration to put this column of 2003 on the Schwartzlist in 2019 came from the excellent column on conspiracies by Ross Douthat in The New York Times, 13 August 2019. Continue reading “195 Toward a theory of conspiracy”
Schwartz uncovers misappropriations of the great Dutch artist by a raft of writers and an artist. Is he sorry he didn’t write a novel about Vermeer? Maybe.
March 2001 Art in America pp. 104-07 (can be enlarged with CTRL+ for legibility)
Last paragraph and notes (all numbered i – you can link them to their place in the text if you really want to)
To test the extent to which Iraq would have become a model Middle Eastern democracy by the year 2005, well into the era of neocon nirvana, in 2003 Schwartz and his artist buddy Joseph Semah plan to stage a Purim Play in Baghdad in March 2005. Happy holiday. Continue reading “288 A missed appointment in Baghdad”
Tired of self-righteous pronouncements on the hot subject of Dutch national identity, Schwartz looks for a way of quantifying the subject. Statistics comparing Dutch attitudes toward Europe with those of other Europeans provide revealing results. For one thing, the Dutch turn out to be the most opinionated populace in this part of the world. But despite themselves, they do have their saving graces.
The exhibitions that take place in Kassel every five years (initially four) since 1955 under the name documenta have a powerful founding myth. They were initiated in response to two forms of totalitarianism: they rehabilitated German artists who had been banned by the Nazis as “degenerate” and they showed up the repressive cultural policies of Communism by flaunting daring Free World art. A powerful myth indeed, but is it true? The yeses and the nos.
No one who has been educated under the regime of the ayatollahs in Iran has heard of Rembrandt, according to research carried out by Schwartz in Shiraz, Tehran and Isfahan. Being kept in the dark not only about him but about Western culture in general adds to the discontent of the Iranians, who nonetheless treated Schwartz to an exclusive, tourist-free introduction to some of their greatest cities and monuments.
We have been fooled too long into thinking that it is up to us, innocent ict customers, to safeguard our own privacy and money from cyberthieves. We are not equipped to do this and those who should be protecting us saddle us with demands that are impossible to fulfill.
The commemoration of war victims provides a measure of closure for the pain of war. It may not feel that way, but it forms an important part of war itself. Rather than eliminating memorial days, Schwartz argues for the extension of mourning to cover all victims of war, down to enemy, civilian and psychological casualties. Such a practice would aggravate rather than ease the emotional burden of war, bringing it closer to the point where it becomes unbearable.