Former “Cosby Show” star: “Of course Bill Cosby is guilty!” | News Entertainment

Former “Cosby Show” star: “Of course Bill Cosby is guilty!”

15 Jul 2015 | Author: | No comments yet »

‘Cosby Show’ Actor Joseph C. Phillips Says ‘Of Course Bill Cosby Is Guilty’.

WASHINGTON (CBSDC) — Former “Cosby Show” actor Joseph C. WASHINGTON — Inside the Castle, it looks as if Smithsonian officials are standing on principle: An exhibition of art owned by Bill and Camille Cosby, on display at the National Museum of African Art, is not an endorsement of Cosby’s character, behavior or reputation. This is about the art, and the artists, not the collector, who is accused of sexually assaulting more than 40 women and who acknowledged in a 2005 legal deposition that he intended to give drugs to women he wanted to have sex with. Phillips, 53, wrote a lengthy blog post following the release of a previously private court deposition where Bill Cosby admit to drugging at least one woman he intended on having sex with. Phillips posted a lengthy missive titled “Of Course Bill Cosby Is Guilty!” this week in which he declares that the embattled comedian is likely guilty of the rape allegations against him.

Kurin stressed the Smithsonian’s commitment not to remove exhibitions once they have been installed, citing the controversy in 2011 over the censorship of a National Portrait Gallery exhibition called “Hide/Seek,” that explored gay and lesbian themes in portraiture. Martin Kendall on “The Cosby Show,” took to his personal website on Monday to comment on the accusations against his former co-star, which include more than three dozen women who have accused Cosby of sexual misconduct. The Cosbys’ art is used in marketing and promotional materials for the Washington DC-based institution, along with quotes and images about the comedian.

Although Cosby’s name appears dozens of times throughout the exhibition, the Castle will not take it down before the scheduled end of its run in January 2016. Mr Phillips said he grew up idolising Mr Cosby and emulating his favorite comedian’s style, but said it was common knowledge that the star was partying backstage. He argued that if the exhibition isn’t about a donor, and uses only material from a donor’s collection, then it shouldn’t be removed simply because of revelations about the donor’s behavior.

To do otherwise, they say, would set a bad precedent and open the institution to public pressure from interest groups far and wide who disagree with or dislike anything on display. “Exhibits have an intellectual product,” said Richard Kurin, the Smithsonian’s undersecretary for history, art and culture. “That’s why we put them up. In the post, Phillips, who played Cosby’s son-in-law on the show, writes about Cosby’s influence on his life as well as his initial skepticism of the women who came forward and accused the iconic actor-comedian of sexual assault. The Cosbys made a $716,000 donation to the museum to cover the majority of exhibition costs, but the organization itself put forward an estimated $136,000 for additional costs.

He also describes how an unnamed friend and former Cosby mentee who says Cosby raped her changed his mind when the two crossed paths years after first meeting. I owe much of who I am to Bill Cosby, so the idea of love seems to fall short of exactly how I feel,” he writes in the essay’s introductory paragraph. That blunder opened the Smithsonian to furious criticism, demonstrated its willingness to capitulate to homophobic slander and did real violence to one of the best and most critically well-received exhibitions it had mounted in a decade or more. She cursed herself for not being smarter, and for degrading herself in pursuit of success,” he wrote. “I felt for my friend, for the violation of her trust, loyalty, and body. But it doesn’t take much time for Phillips to acknowledge the dozens of accusations that have been brought against Cosby, diving deeper into his perception of the actor and his time spent with him. “Bill sleeping around was a ‘fact’ that, like, the air, seemed to just be.

It is about these artists [having] this visual conversation, so my question is: What is the harm in taking down a collection that hasn’t been publicly seen? Although the Castle developed guidelines to address the issue of tampering with or censoring exhibitions, it seems unaware that for every rule there are exceptions. The amount of government money allocated to them has steadily increased over the years, from $615.2 million in 2005 to $819.5 million in 2015, and a requested $935.8 million for the next fiscal year. Cosby isn’t guilty of insider trading, or securities fraud, or driving drunk; he stands accused of raping or having inappropriate sexual contact with dozens of women — allegations he has denied. When Phillips brought up the allegations to the unidentified woman, she began to cry. “We spent the next two hours sitting on a bench talking,” Phillips writes of the woman recounting her story about Cosby. “Through tears, she told me her story.

But California-based attorney Leo Terrell of argues that irrespective of the serious allegations against the sitcom star, the public benefits from the art collection. “Cosby’s association is limited in scope and purpose,” he said. “It clearly provides the public with notification that the Museum does not endorse Cosby’s alleged misconduct of sexual abuse/rape.” A rep for the Smithsonian did not respond to a request for further comment. The exhibition was paid for by, and celebrates in myriad ways small and large, a man who, many women alleged, not only sexually assaulted them but in some cases sought to silence them.

Something changed inside me during that drive; call it the last gasp of a mocking bird.” Bill Cosby strenuously denies the allegations and has not been charged of any wrongdoing. The Hollywood Chamber of Commerce, which presides over the Hollywood Walk of Fame and awards the stars with their square, confirmed this week that his star – which he received in 1977 – would not be removed.

And so the big crisis of the last Smithsonian secretary leads directly to the first crisis of the new one, David Skorton, who took over the institution at the beginning of this month. The comedian has denied previous claims, calling them “fantastical” and “uncorroborated”. “Bill, you have a family who loves you, a wife who is devoted to you; you have more money than you can spend. While the star or an associated sponsor such as a movie studio pays upfront fees for the honor, the sidewalk is the property of the City of Los Angeles, which is ultimately responsible for its maintenance.

While Phillips says he can now see what he calls “the dark side to the Cos,” he also admits that he can’t forget the positive way his idol has influenced him. “I am not prepared to simply dismiss his brilliance, his wisdom, or his legacy.” Phillips ends his essay with a plea though: asking Cosby to “Please, go live a quiet country life.” The actor appeared on CNN Wednesday morning to further discuss his essay. “I think like a lot of people, I was really giving Bill the benefit of the doubt,” Phillips said. “This was not the man I knew, this was not the man I worked with.” Phillips speaking out against Cosby marks the first instance a former “Cosby Show” cast member has publicly accused the 78-year-old actor of being guilty. Cosby has repeatedly denied any allegations of wrongdoing, and will likely not face any criminal charges since the statute of limitations in many or all of the cases has already expired. When Clough censored the gay-and-lesbian-themed exhibition, “Hide/Seek,” American society was in the middle of an astonishingly rapid change of heart about anti-gay prejudice; Clough’s blunder will probably be remembered as the last great capitulation in the dying culture wars over sexual identity and expression. It would be really extraordinary. [Kurin volunteered that the situation with the Cosby collection is difficult because it isn’t just Bill Cosby’s art, but also the collection of his wife, Camille.] KURIN: It is a complex relationship, a complex situation. Previously, Phylicia Rashad defended her former TV husband, saying that the allegations were the “the obliteration of a legacy.” Malcolm-Jamal Warner commented saying it was “painful” to watch his friend and mentor, Cosby, face the allegations.

Now the Smithsonian has chosen to stand behind an exhibition celebrating a collector who personifies the nexus of power, wealth and celebrity that allows too many men of high social standing to treat women with violence and impunity. Once again, the culture is rapidly shifting, and the Smithsonian seems to have no idea how its support of the Cosby exhibition looks to the outside world. However, despite that revelation, Phillips nonetheless ends his blog centering on the notion that Cosby’s legacy — the “good Bill” — can be separated from his alleged sexual misconduct. POST: Is the museum’s reluctance to remove the exhibition related to the close relationship between African American Art museum director Johnnetta Cole and the Cosbys, and why has she been so quiet in the debate about this?

Worse, the institution has played down the financial relationship between the Cosbys — who donated more than $700,000 to the African Art Museum — and the institution. Although the Smithsonian asserts that the Cosbys’ underwriting of the museum was “publicly available information,” a museum spokesman didn’t divulge the information when asked a direct question by The Post in an email exchange last November.

Allow those of us who truly love you to preserve just a bit of our enchantment.” Phillips’ blog comes just a week after a judge unsealed 2005 court documents in which Cosby admitted to having purchased Quaaludes for sex. KURIN: Camille Cosby continues to be a member of the board [of advisers of the MAA]. [Like] other members of the board, she contributes about $10,000 a year. It has been 40 years since Susan Brownmiller published “Against Our Will,” which argued that rape “is nothing more or less than a conscious process of intimidation by which all men keep all women in a state of fear.” That might seem hyperbolic unless you’ve spent time in an art gallery, where rape is routinely glorified and eroticized.

Its casual celebration of patriarchy and traditional female role models will be read in context of women who claim that he allegedly used drugs to incapacitate them. Only one painting lent by the Cosbys, Robert Colescott’s 1991 “Death of a Mulatto Woman,” directly engages issues of identity, race and femininity in a sophisticated way, and it is wildly ambiguous, seemingly to posit a connection between mixed racial identity and sexual availability or vulnerability. Sexual abuse of all sorts thrives within the family, where emotional cohesion, obedience and loyalty are all too often deployed to bury abuse in collective silence.

What to make of a quilt that includes a panel with these words on it: “What about the word no don’t you understand?” At this point, there is no risk of over-psychologizing the exhibition. It never had any substantial content to begin with, but at least now it can be used as a case study in how women are treated in art and how art supports a cultural infrastructure of contempt, dehumanization and misogyny. Art objectifies women; it allows us to ogle them under the pretense of purely aesthetic pleasure; it defines them romantically and sentimentally as servants and helpmates to men; it punishes them for transgressing their proper role.

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