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The Art of No

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  The Ayes Have It (But She Don't) Everybody knows the bill is dead Everybody knows the Senate’s red Everybody knows the deal is done The major parties had their fun The crossbench bargains were all just show The whips have cracked, the whistle’s blowed That’s how it goes And Hanson always votes no. Everybody knows the bells are ringing Everybody knows the mud they’re slinging Everybody knows the clerk can’t count With all the grievances they mount Everybody knows that the motion’s lost Everybody knows what the lobby cost The Ayes go high, the chamber’s low And Hanson always votes no. And everybody knows that it’s now or never Everybody knows that it’s gonna take forever Everybody knows that the act is rotten Old amendments best forgotten Everybody knows the tellers move With nothing left for them to prove The red room puts on quite a show But Hanson always votes no. Everybody knows the maiden speech The lessons that she tried to teach About the fish and about the chips And the tig...
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The art of authenticity

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The Struggle for Authenticity in Art


I want to speak today about authenticity.

And about what we quietly give up to be accepted.


We’re told that contemporary political art values autonomy.

That artists are free.

That inquiry sits at the centre of practice.

But autonomy, in reality, is often something we *perform*—

not something we’re allowed to exercise.


Freedom is celebrated rhetorically,

while legitimacy is granted only when work conforms

to approved languages,

approved theories,

approved causes.


Autonomy isn’t denied outright.

It’s curated.


This system doesn’t fail artists by accident.

It functions mechanically.

It rewards work that aligns with predetermined frameworks

and filters out work that doesn’t speak the sanctioned dialect.


Many voices are excluded not because they lack skill or meaning,

but because they refuse to translate their experience

into institutionally legible language.


I’m not saying all excluded work is good.

I am saying much of it is never heard.

And that matters.

Because the greatest threat to cultural expression

is not radical art.

It’s the slow erosion of the artist’s voice.


Autonomy is surrendered incrementally—

for access,

for legitimacy,

for approval.


Conviction becomes compliance.

Inquiry becomes insulation.

Authenticity is replaced by sanctification.


Ambiguity plays a role in this.

Ambiguity itself is not the problem.

Ambiguity that invites inquiry is essential to art.


But ambiguity that cannot be questioned—

because it is institutionally protected—

stops being openness

and starts functioning as authority.


When obscurity shields work from dialogue,

especially from those outside institutional literacy,

it ceases to be generosity

and becomes enclosure.


Meaninglessness mistaken for sophistication

does not protect art.

It protects systems.


Accessibility is often treated with suspicion.

But accessibility is not simplification.

Public intelligibility is not populism.

Complex ideas do not collapse when explained.

Fragile ones hide behind jargon.


The public is not incapable of depth.

What the public is denied

is access.

Art grounded in integrity does not dilute complexity.

It clarifies purpose.


People respond to work that is honest, rigorous,

and rooted in lived inquiry—

especially when that work challenges dominant narratives.


Political art that cannot withstand disagreement

has already abandoned politics.


This is not a call for simplification,

but for responsibility;

not for consensus,

but for courage.


Institutions often defend exclusion by invoking standards.

I’m not arguing against standards.

I’m questioning how they operate.


Standards that require conformity of language or ideology

are not neutral.

They are political instruments.


Curation becomes coercive

when legitimacy depends on fluency in a narrow theoretical dialect

rather than the force of inquiry itself.

Culture doesn’t sharpen under those conditions.

It narrows.


This is not a crisis of expression.

It’s a crisis of discourse.


Obscurity neutralises critique.

Silence masquerades as depth.

Fear of disagreement is used to justify insulation.


But fear of disagreement

is not a defence of culture.

It’s an abdication of responsibility.


Political art must not hide behind theory.

It must stand behind intention.

Accountability doesn’t mean agreement.

It means ownership.


It means standing by the *why* of the work—

and entering dialogue

that invites challenge, interpretation, and response.


The “why” does not close meaning.

It grounds responsibility.

So this is the position I’m taking.


Art that refuses to trade voice for access.

Clarity without simplification.

Complexity without concealment.

Autonomy without performance.


Because authenticity is not a style.

It’s a position.









John Bennett - AKA JJFBbennett- is an independent artist. You can view and subscribe to my work via Blogger, YouTube, Flicker, Facebook, Instagram and Deviant Art. 

Subscribe to JJFBbennett's private FB hub: https://www.facebook.com/share/g/18ythpSXPZ/

You can subscribe to my music via YouTube Music, Spotify, iTunes, Apple Music and Soundcloud

To support my art, feel free to donate via JJFBbennett through PayPal  

If you want to acquire JJFB's art creations as an NFT - John's Opensea NFT profile is https://opensea.io/JJFBbennett  


Copyright

This artwork is protected by U.S. and International copyright laws. Distribution and/or modification of the artwork without the written permission of the sponsor is prohibited.

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