Julia Friedman and Quillette are mad there's a statue of a Black woman in NYC

Only a stupid racist rag like Quillette would publish this hate-dripping screed against the recently-installed statue "Grounded in the Stars."

And the hyperbole that expresses Friedman's racist rage is amaaaaazing - the passage posted below stops because the rest is behind a paywall and I'm not paying for Quillette shit. 

But the part of the article that is available for free online is a perfect example of the reactionary terror-rage-shriek in response to the toppling of slave-trader statues: 

Price shared his thoughts on public sculpture with Time magazine on 17 June 2020 after #BlackLivesMatter protesters in Bristol tore down a statue of slave trader Edward Colston and threw it into the city’s harbour. Statues, Price explained, “maintain the systems of power,” so tearing them down is not about “removing history,” it is about “creating a historical moment.” But simply replacing those statues with “alternative figures from history” would be misguided, he added, because it continues to “aggrandise particular individuals […] setting people apart.” His preferred solution was to erect public sculptures of anonymous composites that can counter the “endless stream of limiting tropes and identities for Black people.” The idea was to “critique the whole concept of portraiture. Portraiture is based on this idea of a person having the money to commission an artwork, or having done such great things that an artwork is commissioned in their honour.”

His work is, in other words, an exercise in a kind of jargony populist iconoclasm. Price’s only (stated) criterion is that his subjects must be black, because Price (who is also black) believes he can provide “a real insight to that experience.” This “strategy for inclusion” is meant to ensure “representations of those who have previously been stigmatised or invisible,” thereby helping to pave the way for a more cohesive society. Price’s artist profile on the Hauser & Wirth website pays lip service to “the intrinsic value of the individual,” but in Price’s model, the individual’s only function is to represent the identity group to which they belong, while the artist’s function is to challenge, confront, subvert, disrupt, and so on in an attempt to reshape society into an egalitarian utopia.

This kind of social-engineering agenda is not new to the arts, of course, and Price’s approach has some notable historical precedents. In the 1930s, it was practised on a nationwide scale in Soviet Russia, Nazi Germany, and, to an extent, in fascist Italy. In the USSR, this kind of agitprop was called Socialist Realism, the standards of which were unveiled in 1934 at the First Congress of Soviet Writers. The underlying ideological principle was elevation of the oppressed proletariat, in pursuit of which all art had to satisfy four requirements:

Cry harder, stupid racist drama queen. 

But really, the reaction from the hard-core racists at Quillette, publishing this deranged reactionary screed, is absolutely perfect and proves what a successful piece of art "Grounded in the Stars" really is.

As it says in the NYTimes: Times Sq. Sculpture Prompts Racist Backlash. To Some, That’s the Point

Lizzo in front of "Grounded in the Stars" -
All the racists: "nooooooooooooo!!!!!!!"