Just when you thought this story may be dead, Italian street artist Blu, whose mural was whitewashed by MOCA last week, has shot back at Jeffrey Deitch’s brush-this-all-under-the-rug mentality with a fiery statement he emailed to the LA Times:
It is censorship that almost turned into self-censorship when they asked me to openly agree with their decision to erase the wall. In Soviet Union they were calling it ‘self-criticism.’
Deitch invited me to paint another mural over the one he erased, and I will not do that.
How will the art world react to the fact that a major museum director, and not some museum bureaucrat (as in the case of the Smithsonian’s Wojnarowicz censorship) has actively censored a prominent artist? I can’t imagine with anything short of outrage.
I contacted the LA MOCA’s press department 15 minutes ago, and they said there is no official response to Blu’s statement, but they will let us know when there is.
Animal New York has responses from Ron English, Faile and other prominent street artists who aren’t happy with MOCA and Deitch either.
One thing is for sure, this issue is NOT going away any time soon.
Also read LA Times art critic Christopher Knight on what Deitch’s MOCA did wrong and how MOCA avoided similar problems in the past with equally political artists.
Original image: Blu’s MOCA mural being whitewashed (via Unurth, image by Casey Caplowe, and used with permission)
The last few years at the museum have not been without controversy, and Decatur will inherit a record of workforce struggles.
Refugees of the Moria camp in Lesvos, Greece are behind the camera in the film Nothing About Us Without Us.
This adventurous theater festival returns in person with 36 artists and companies from nine countries performing at different venues across the city.
Helen Molesworth’s true-crime sensation marginalizes the artist’s life and legacy.
Members of NatSoc Florida performed the Nazi salute and chanted “Heil Hitler” at a local LGBTQ+ charity’s fundraiser in Lakeland.
Learn more about the New York-based, globally linked program and its upcoming discussions on art and society in the time of AI and data governance.
Nothing on the canvas wholly captures what it means to belong on land or at sea.
Dyson is part of a growing number of contemporary artists to imbue geometric abstraction with a sociopolitical dimension.
The program, along with recently announced visiting critics, will provide long term funding, promote access, and safeguard experimentation for future students of color.
In an exhibition that consists of mostly small-scale black and white works on paper, viewer engagement almost magically awakens the sleepy room.
Maria Maea’s All in Time continues an intergenerational conversation and exemplifies the artist’s process, not simply the finished pieces.
Koestler Arts works with incarcerated people and patients in secure mental health units, aiming to improve their lives through creativity.
Local artists and culture workers are wondering how the arena will impact the arts landscape, including museums and alternative spaces.