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The rush to cancel old Halloween costumes

I'm holding a Polaroid taken at a Halloween party at one of my early State Department assignments in the 1980s. One of my diplomatic colleagues is in blackface. He’s done up to look like the minstrel player who was on the "Darkie" toothpaste boxes then for sale in every drugstore in Asia. You can see a photo of the packaging: the white teeth against the minstrel player's face were supposed to show how good the toothpaste was. My other colleague is dressed as the Frito Bandito, a caricature of Mexicans used to sell corn chips. The costume theme for the night was advertising icons. In the 1980s, these were acceptable ways to advertise and acceptable costumes for Halloween. Looking at the photo now, I realize it is a weapon.

Renoir and the foolishness of chronological snobbery

Peter Schjeldahl’s essay 'Renoir’s Problem Nudes' in The New Yorker has already attracted some portion of the contempt and ridicule it deserves. Here is my modest contribution to that task. According to Schjeldahl, Renoir 'sparks a sense of crisis.' 'Who doesn’t have a problem with Pierre-Auguste Renoir?' he asks in his opening gambit. Can we have a show of hands on that? Pace Schjeldahl, Renoir is such an immensely popular because his painting is essentially celebratory; he looked upon the world with an oeil bienveillant, glorying in its sumptuousness. There is great intensity in some of Renoir’s portraits, but very little melancholy. The dominant mood is festive: a happy, sociable sensuousness.

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