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In the last year, there has been a reckoning with statues and monuments honouring and glorifying problematic events and people of the past. This week, UK Communities Secretary Robert Jenrick has set forth new UK laws that would make it more difficult to remove monuments across the country moving forward.

In an article published in The Telegraph, Jenrick stated: “Latterly there has been an attempt to impose a single, often negative narrative which not so much recalls our national story, as seeks to erase part of it. This has been done at the hand of the flash mob, or by the decree of a ‘cultural committee’ of town hall militants and woke worthies.” He then announced his plans to bring “due process” back to UK heritage to ensure that monuments aren’t destroyed by “woke militants” or removed “on a whim or at the behest of a baying mob.”

Censorship is among the chief reasons behind the new mandates that will require planning permission before the removal or alteration of any public monument. Additionally, local councils will need to consult with their residents and guarantee any changes abide by council rules.

The motion comes after many statues across the UK have garnered new, and often unfavourable, attention. Question marks have loomed over many monuments, including those devoted to Winston Churchill, former Prime Minister. Most notable, though, was last summer when a group of protesters toppled a Bristol statue of Edward Colston, a 17^th century man who greatly profited off the Atlantic slave trade. The anti-racism protest was held in solidarity with the Black Lives Matter movement and during the June 7^th events, the statue was pulled down from its plinth and rolled into the Bristol harbour. The statue was later retrieved from the waters and is now housed at a museum. Meanwhile, four members of the protest have been charged with criminal damages in relation to the toppling.

The Colston statue had been a point of contention for some time, perhaps even since it was erected more than 100 years ago. In 2019, plans to contextualise the statue of Colston with a plaque were abandoned after officials were unable to agree on wording, which begs the question of how well Jenrick’s plans might play out.

These changes will not only affect public statues, but plaques and other monuments, as well. According to a government press release published the same day as Jenrick’s article, the new laws will “make clear that historic monuments should be retained and explained.” The press release also dubbed Jenrick’s changes as the “most significant new protection for England’s heritage since the 1967 Civic Amenities Act established Conservation Areas.”

Jenrick’s new laws have garnered criticism from many, including director of the Runnymede Trust Dr Halima Begum, who told The Guardian that these plans were “nothing more than smoke and mirrors.” Begum’s sentiments were echoed by others who questioned by the government was dealing with public monuments when the pandemic continues to wreak havoc on the UK.

Despite differing opinions on the validity of the new series of laws, what is certain is that changes to UK law will not be the end of the discussion, nor will it likely make the path forward less murky.

On the week that President Donald Trump will leave the White House, a six-metre tall inflatable caricature of The Apprentice star turned president will enter the Museum of London’s collection.

The Trump baby balloon first appeared in 2018 amongst protesters who gathered in Parliament Square for an anti-Trump demonstration coinciding with the president’s first official visit to the UK as head of the US government.

The balloon, itself, was designed by Matt Bonner and constructed by Imagine Inflatables, a company based in Leicester. The oblong balloon is an imitation of the president, who has mere days left as president. Clad in a diaper, the bare-chested baby is orange all over, except for its swath of yellow hair. Its raccoon-like eyes narrow as its mouth sneers in such a way that you can almost hear it yelling “you’re fired!” In its hand, a cell phone, the tool which Trump used to garner support via Twitter and other social media platforms, many of which were recently deactivated.

Not long after it hit the scene, the Museum of London expressed their interest in the balloon, but before it made it into their vaults, the balloon made appearances at protests around the world, including those in various places in the US, Ireland, Denmark, France, and Argentina.

“Of course the museum is not political, and does not have any view about the state of politics in the States,” said Sharon Ament, director of the Museum of London. The balloon, though, was an obvious expression of frustration by people in the UK and it perfectly exemplified the satirical way that those people often address frustration. “We use humour a lot. And we poke fun at politicians,” continued Ament, “This is a big – literally – example of that.”

In a statement about the balloon and its acquisition, the creators of the Trump baby said:

“While we’re pleased that the Trump baby can now be consigned to history along with the man himself, we’re under no illusions that this is the end of the story. We hope the baby’s place in the museum will stand as a reminder of when London stood against Mr Trump – but will prompt those who see it to examine how they can continue the fight against the politics of hate. Most of all, we hope the Trump baby serves as a reminder of the politics of resistance that took place during Trump’s time in office.

“This large inflatable was just a tiny part of a global movement. A movement that was led by the marginalised people who Trump’s politics most endangered – and whose role in this moment should never be underestimated.”

The balloon will be included in the museum’s collection of protest items. It will join their ranks of ephemera used by the Suffragette movement, civil rights activist, and environmental protesters. The balloon is being held in quarantine at the museum, to ensure no bugs make their way into the collection, before it will be fitted into its new home. For the creators of the Trump baby, it is hoped that the balloon will serve as a reminder of the “policies of hate” that led to its making.

Time and time again, we see just how much value nostalgia can give to the price of an item. Artwork connected to a childhood property can drive auction bids through the roof, whether they be storybooks, TV shows, or comic books. While it’s no surprise that well-preserved comics can go for astronomical prices among collectors, individual pieces of comic art can fetch much the same. And just this past week, a piece of art from “The Blue Lotus”, an issue of the beloved Belgian comic Tintin, has just shattered the auction record for an individual piece of comic-book art.

The piece in question ended up going for €2.6 million ($3.1 million USD), and was originally intended to serve as the cover for volume five of The Adventures of Tintin, “The Blue Lotus”. Serialized from 1934 to 1935 the story-arc follows Tintin’s exploits in China amidst a Japanese invasion and a drug-smuggling ring. The draft cover for the volume depicts a red dragon coiling across a wall, leering over the protagonist as he and his faithful dog hide inside of a vase. However, this particular piece was never attached to any releases of the comic. While bearing a wealth of similarities to the design that was ultimately chosen for “The Blue Lotus”, this original piece- done in India inks, gouache, and watercolours- was deemed too difficult and pricey to reproduce en masse and was eventually tabled.

Created by Belgian artist Hergé, The Adventures of Tintin ran from 1929 to 1976, following the adventures of the titular adventuring reporter and his dog Snowy as they travel the world. Massively popular across the globe, the character of Tintin and the series’ simplistic, clean art style are instantly recognizable. Unsurprisingly, its art has seen similar prices at auctions before.

Comparatively, a previous record-setter for individual comic-book art was in 2018 with Frank Frazetta’s cover art for the 1996 comic Death Dealer #2, selling for $1.79 million USD. The highest selling full comic of all time was an issue of Action Comics #1, the first appearance of Superman, which sold in 2014 for $3.2 million USD, trailed a fair amount by an issue of Batman #1 that went for $2.22 million USD. Both physical grade and historical significance- both being turning points in the medium of comics- are obvious contributors to the prices these once mass manufactured issues fetched; the complete uniqueness and admirable artistry of Hergé seemingly the biggest factors for “The Blue Lotus”.

It is more than obvious by now that comics have been accepted in much of the same umbrella as high art. Certainly, there is no shortage of artistic merit and thoughtfulness contained in the pages of modern graphic novels, and there has always been value in the medium to stir the hearts and minds of audiences. The sale price of “The Blue Lotus” is in no way shocking- when you combine the completely individual nature of the page, the skill of Hergé’s work in the medium, and the intense fondness the world holds for their lifetime comic companions, you have a surefire hot item.

This week’s Art World Roundup, covers a new stamp series in Sweden honouring the work of activist Greta Thunberg, the first reports of damages to the US Capitol Building, and how a Diego Rivera mural will be protected. Also, restitution activist Mwazulu Diyabanza was fined in the Netherlands, the National Trust moves ahead to help preserve Fountains Abbey, and the first blue pigment to be discovered in 200 years gets approved.

Greta Thunberg honoured with series of Swedish stamps

Sweden is honouring environmental activist Greta Thunberg with a new series of postage stamps designed and illustrated by artist Henning Trollbäck. Titled Valuable Nature, the stamps are a memorial to Thunberg’s efforts to “preserve Sweden’s unique nature for future generations.” Each of the stamps, which include domestic and international stamps, highlight goals recently set out by Sweden to improve their environment. “We’re pleased that Greta, among several illustrations of important nature, will be symbolised on our stamps,” Kristina Olofsdotter of PostNord, the Swedish postal service, told The Guardian. “These natural places are very important and we all need to do our part to preserve them.” Thunberg is well-known for having held a school strike on her own in 2018 in protest of environmental issues. Since then, she continued her school strike, which grew into a global movement that has seen the millions of school-aged kids participate. Thunberg, who only just celebrated her 18^th birthday, has received a number of honours for her work including nominations for the Nobel Peace Prize in 2019 and 2020, becoming the Time Person of the Year 2019 (among other Time honours), and in 2019, she was named the Swedish Woman of the Year.

Initial reports shed light on damage at the Capitol Building

The New York Times released one of the first reports on the damages that were made to the US Capitol Building after the events of Jan 6^th when a mob of Trump supporters stormed the federal building. Of course, the art that could have been damaged is not among the biggest concerns nor do they compare to those who have lost their lives due to the insurrection. Ultimately, though, much of the physical damage to the building was limited to broken windows, damaged doors, and graffiti. Other artworks, including busts and murals, will require cleaning after they were sprayed with pepper sprays, fire extinguishers, and various other things. Among other artworks damaged was a bust of President Zachary Taylor was splashed with a red liquid resembling blood and there were various items taken from the capitol building, although most major works were unscathed. Outside of the building, two brass light fixtures by Frederick Law Olmsted were broken and there was more graffiti.

Landmark status means no sale at SFAI

Last month, the future of a 1931 Diego Rivera mural, titled The Making of Fresco Showing the Buildings City, was at stake at the San Francisco Art Institute (SFAI), who tabled the idea of selling the artwork to help pay off debts of $19.7 million. This week, the San Francisco Board of Supervisors unanimously voted to designate the Rivera as a landmark, which will effectively bar the potential sale of the work. Feathers were ruffled when it came out after a December board meeting that the 150-year-old institution tabled the idea to sell the artwork, valued at around £50 million. The SFAI board heard two proposals: one would see the artwork sold (it was reported that filmmaker George Lucas was interested in the work); the second would have seen the San Francisco Museum of Modern Art take over ownership of the mural while leaving it en situ at the SFAI. Although the school stressed the sale was not the only option, and merely the board exhausting options to balance the books, it’s now most likely out of the question. If landmark status is tagged onto the Rivera, any move of the artwork would require approval from the SF Historic Preservation Commission.

Restitution activist fined in the Netherlands

Mwazulu Diyabanza, the Congolese restitution activist who’s made a name for himself in recent months for his unorthodox demonstrations, has been sentenced in the Netherlands alongside four of his fellow activists. In September last year, Diyabanza entered the Africa Museum in Berg en Dal and took a Congolese funerary statue from its place. The stunt was filmed by fellow protestors and posted to social media accounts. Diyabanza was apprehended outside of the museum and the statue was recovered safely. For his demonstration, Diyabanza received a €2,500 fine and a two-month suspended prison sentence, which includes a two-year probation. The four people who filmed and helped Diyabanza with the act were each fined €1,000 and given one-month suspended prison sentences with two-year probations. All five of the activists are banned from the Africa Museum for three years. Diyabanza has become known for his protests highlighting African cultural objects that are housed in other countries due to colonial efforts. In all of his demonstration, Diyabanza has more or less done the same thing; he’s entered the museum in question, taken an object, pronounced his reasoning for doing so, and waited to be ascertained by security. So far, he has held protests in the Netherlands and France.

Aid for Fountains Abbey

The UK National Trust has received the okay to move forward with efforts to help save Fountains Abbey, the oldest monastic ruins in the UK, from the effects of climate change. Located in the Skell Valley of North Yorkshire, the abbey has increasingly been in harm’s way as the River Skell, which cause significant damage to the abbey in 2007, has flooded the area. The £2.5 million National Trust project, in part funded by a £1.4 million lottery grant, will seek the rejuvenation of about 12 miles of the river stretching from Dallowgill Moor to Ripon. The project will require the help of 16 local Skell Valley farmers and landowners working together with the National Trust and the Nidderdale Area of Outstanding Beauty over the coming four years. Plans include the installation of new ponds and 15 acres of trees that will help the flow of the River Skell and reduce soil runoff in a natural manner. “Climate change is eroding away nature and heritage,” said Harry Bowell of the National Trust. “Only by working across our boundaries, with local people and partners, and with nature, will we be able to make a real difference.”

Beating the January blues

In 2009, Oregon State University chemist and professor Mas Subramanian and his team happened upon a new blue pigment while conducting experiments with rare earth elements. The blue pigment, called YInMn Blue or, if you’re around the university, “MasBlue,” was approved by the EPA for artists’ use last year and it’s already making a splash, despite its hefty price tag. The first new blue to be discovered in 200 years, YInMn Blue, which is described as a cross over between Ultramarine and Cobalt, has quickly garnered a following for a few reasons. For artists, the blue has a high opacity, making it more attractive in comparison to the more transparent Ultramarine. The pureness of the pigment allows it to mix well with others pigments, resulting in less muddy combinations. The pigment has also caught the attention of the industrial world, too, as it has unusual hyper-spectral properties in that it reflects most infrared radiation allowing it stay physically cool. The pigment has been approved for use by industrial companies in the US since 2017, but further testing was required before it could be offered as an artists’ tool. The new blue fills “a gap in the range of colors,” said Georg Kremer, founder and president of Kremer Pigmente (a company whose customers have been waiting for the pigment) in Germany. “Our customers loved it from the very first moment they had seen it.” Subramanian and his team are still on the hunt for new pigments from rare earth elements to join YInMn Blue.