Can street art murals be simply too hot to handle for the public to view? Are the public funds and corporate subsidies often used to produce it any more disreputable than the same norms that permit corporations to peddle much more insidious ideologies through an invasion of public space through the medium of billboards? The idea of politically correct, and liberty of expression seems to be a flexible and elastic concept depending on the context. And the current social and economic context, does recall the artistic current of realism and social realism of the 1930′s. Unemployment is at the same level- we just fudge the figures better- and societal divisions seem to have re-established the pertinence of a John Dos Passos and John Steinbeck. The belief in the liberal rationalist creed and its omnipotent faith in “markets” to define and objectify most aspects of out life is cause for concern…
At a basic level politics is the struggle of an unrecognized party for equal recognition in the established order, with an equal push to guard the established order. Aesthetics is bound up in this battle, according to Jacques Ranciere , because the battle takes place over the image of society — what it is permissible to say or to show. This, is also backed up by a politics of aesthetics. On the Left, this complex intellectual equation can be simplified if one realizes that what Ranciere does is combine art history with labor history.But, politically, this way of thinking about art objects also corresponds to the bourgeoisification of the artist, his transformation into a figure with his own freedom and independence, elevated above the demands of common labor. Ultimately, then, political art is a struggle between competing elites who are identical essentially,with the forlorn “middle class” being cajoled , arm twisted and moral suasioned into following a pied piper.
—Jeffrey Deitch, a longtime street-art evangelist, hoped to tap into with its much-anticipated upcoming “Art in the Streets” survey of graffiti greats. Now that show is likely to be stalked by controversy after the institution ordered the whitewashing of a mural by the well-known street artist Blu on the outside wall of the Geffen Contemporary building. The work had been commissioned as part of the run-up to the show’s April 17 opening. Apparently, the erasure was an effort to avoid a political uproar. Instead, it seems likely to ignite one….
For his work on the museum’s exterior wall, Blu created a massive panorama of coffins draped in one dollar bills — a provocative image considering that the wall faces an L.A. Veterans’ Affairs Hospital, as well as the so-called Go For Broke monument, which honors Japanese-American soldiers who fought in the Pacific during World War II. The mural was whitewashed on Thursday, mere hours after the mural went up on Wednesday night. According to a statement issued by MOCA, “The museum’s director explained to Blu that in this context, where MOCA is a guest among this historic Japanese American community, the work was inappropriate.” Read More:http://www.artinfo.com/news/story/36568/whitewash-at-moca-jeffrey-deitch-censors-blus-political-street-art-mural/ aaaaa
Maine’s governor, Paul LePage, has opened a new — and unlikely — front in the battle between some lawmakers and unions: a 36-foot-wide mural in the state’s Department of Labor building in Augusta…The three-year-old mural has 11 panels showing scenes of Maine workers, including colonial-era shoemaking apprentices, lumberjacks, a “Rosie the Riveter” in a shipyard and a 1986 paper mill strike. Taken together, his administration deems these scenes too one-sided in favor of unions. Read More:http://www.nytimes.com/2011/03/24/us/24lepage.html?_r=1
Diego Rivera is considered the father of Mexican mural art as well as modern political art. He reinterpreted Mexican history from a revolutionary and nationalistic point of view. Not only did he express powerful ideas in his murals, but he also applied the tools he learned with modernist techniques. Diego Rivera’s murals express his personal ideals by unifying art with politics.
Diego Rivera:“An artist is above all a human being, profoundly human to the core. If the artist can’t feel everything that humanity feels, if the artist isn’t capable of loving until he forgets himself and sacrifices himself if necessary, if he won’t put down his magic brush and head the fight against the oppressor, then he isn’t a great artist.” Read More:http://www.pbs.org/wnet/americanmasters/episodes/diego-rivera/about-the-artist/64/
Zizek:One splits into two, two doesn’t merge into one’. The slogan made quite a stir in its day, combining the air of a purely mathematical axiom with a political mandate. Under the cloak of a universal truth there lies a political dagger. The formula combines under the same heading a mathematical adage, an ontological statement, and a political stance. So why does one split into two, necessarily, in mathematics, in ontology, and in politics? And why, once we arrive at Two, at a foundational split, can we never return to the supposed unity of One? Read More:http://www.berlinartlink.com/2011/03/27/zizek-in-berlin/