Ramadan Mubarak and Happy Lunar New Year! For many years, figures in the realms of art, academia, and culture have heralded the Marquis de Sade as an emblem of defiant rebellion against society’s rigid norms. Despite this, he was an acknowledged rapist who reveled in the sadistic pleasure of torture and abuse. A modern-day follower in spirit, perhaps, was Jeffrey Epstein from Manhattan’s Upper East Side. Epstein was surrounded by influential friends who lauded him as a business and math expert with a peculiar taste in women.
In an insightful essay by Ed Simon this week, he intricately connects the morally bankrupt elites of the past and present, illustrating how the seeds of malevolence planted in 18th-century France have grown into the contemporary revelations of the Epstein files.
Additionally, I would like to highlight Aruna D’Souza’s insightful critique on exhibition wall labels, Seph Rodney’s examination of representation politics in art, Bridget Quinn’s introduction to Finnish painter Helene Schjerfbeck, and Renée Reizman’s homage to the DIY ethos within the Los Angeles art scene.
Lastly, please join me on March 2 (3–4pm ET) for a virtual discussion with artist and Hyperallergic contributor Damien Davis. We’ll explore his recent writings, studio work, and his opinions on the art world. It promises to be an engaging conversation. Will you be there?
—Hakim Bishara, editor-in-chief
