A bit further along the thread Green reiterated the point, informing Brian Dupont that, "I like that you're engaging with the rubric, but engage the rubric, which is *artworks* not artists.... It's like complaining about apples not being steak." The pretense here is that greatness is an inherent quality of the object that has nothing to do with the identity of the artist. That is full bore pre-Jackie Robinson bullshit. The problem doesn't lie with the way it is being defended however, it lies with Green's rubric itself. When judging greatness there is no way to separate art from when it was created and who created it.
the video) to open up a discussion of rules:
The play was as much [Kareem's] as it was Erving's, since it was Kareem's perfect defense that made erving's instantaneous, pluperfect response to it both necessary and possible - thus the joy, because everyone behaved perfectly, eloquently, with mutual respect, and something magic happened - this the joy, at the triumph of civil society in an act that was clearly the product of talent and will accommodating itself to liberating rules... Julius Erving's play was at once new and fair! The rules, made by people who couldn't begin to imagine Erving's play, made it possible.Identity Politics is a bugbear for writers on the Left and the Right. Both Francis Fukayama (recovering Neo-Con) and Fredrick Jamison (Southpaw) fret about the fracturing of the center into hyphenated slinter groups. But identity politics isn't, as many of it's critics claim, an new rule imposed on us by the Postmodernists however. Identity has always been a factor in considerations of greatness (of any kind). Until recently the only politically viable identity in American life was to be white and a man. There is no non-political identity, there never was. Acknowledging the importance of identity was new and fair. Continuing to pretend that identity is moot is step backwards of the ugliest kind.
Of the 861 works that Christie's, Sotheby's and Phillips de Pury, & Company are offering over three days starting May 10, a mere 13 percent, are by female artists. Sixty-one pieces have each been assigned an estimated price of $1 million or more; of those, only 6 are by women.