A DUNCE’S GUIDE TO CONFEDERATE AND ART CRITICISM

by Richard Worth

Often my articles here in the Arts section follow a similar pattern; I observe what I think is a poor defence or poor criticism of a subject, give my contrary reasoning and cast some shade, then tried to conclude with what I think is a better approach to art in general. The overall meta-thesis tends to be “artists and audiences need to be smarter and less sensitive”.

Whilst I do have fun writing such pieces, I feel that my critical pattern is par for the course for liberalism in general. There is an overwhelming feeling of being against something rather than for something. Politically I can reason myself around this. If I’m against inequality in the workplace, I’m de facto for equality. With the arts though it can make me feel like a grumpy old curmudgeon who hates everything and writes from a place of negativity and harsh criticism; To remedy that I wanted to write about something that I was excited about. I failed.

Not only is it a great crime drama with a nunchuck-wielding lead named Dashiell Bad Horse, but the show will have an almost entirely Native American cast and give a voice and representation to the issue of a people marginalised and mistreated in their own land.

What I wanted to write about is the upcoming television adaptation of Jason Aaron and R.M. Guéra comics series Scalped. I love Scalped. It’s a gritty western-crime-noir about an undercover F.B.I. agent on Prairie Rose Indian Reservation. It’s brutal, tense and amazing. Its depiction of life on the “rez” and the struggles of Native Americans feel raw and honest and uncomfortable. I’m not the type of guy who gets super excited for either comic book adaptations or TV series, but this is different. Not only is it a great crime drama with a nunchuck-wielding lead named Dashiell Bad Horse, but the show will have an almost entirely Native American cast and give a voice and representation to the issue of a people marginalised and mistreated in their own land.

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