Theodore Dalrymple at The City Journal compares money, the individual, and the social in Depression-era Soviet and American art:
‘I was struck by the parallels between the furious debates among artists in the early years of the revolution and those that raged during the Depression about the “correct” way to paint and the role of art in society—the assumption being that an indubitably correct answer was there to be found, as if there could not be many mansions in art, as if appreciation of one style automatically precluded admiration for another. The debates were highly ideological: in the Russian case, about what activity truly served the revolution and the proletariat (itself an abstraction, very different from workers’ actual lives); and in the American case, about what activity was truly American.’
To be flippant, as previously posted on this site: A little piece I like to call ‘Stalin’s Fingers’ in Seattle. Comic and graphic art may be taking up some of the muscularity of socialist realism and public-works solidarity.
You might have noticed those tiles already look a little drab and dated, even though construction only finished a few years ago.
More here on the piece (apologies to all comic/graphic artists ahead of time, for not portraying your craft with as much fidelity as it probably deserves).
Our muraliste is a comic/graphic artist tapped to make signs and symbols for all the Community:
‘In a wide-ranging and candid interview with New York, Mayor Bill de Blasio casually noted that the “way our legal system is structured to favor private property” provokes his “anger, which is visceral.”
De Blasio likely places certain ideals (‘community,’ equality, and cooled revolutionary spirit) above private property, free enterprise, and individual liberty, even as he’s collecting the wealth from the successes of NYC finance, trade, property taxes, and tourism.
‘Bill de Blasio, then 26, went to Nicaragua to help distribute food and medicine in the middle of a war between left and right. But he returned with something else entirely: a vision of the possibilities of an unfettered leftist government.
and:
‘His activism did not stop. In the cramped Lower Manhattan headquarters of the Nicaragua Solidarity Network of Greater New York, where he volunteered, Mr. de Blasio learned to cause a stir. He and a ragtag team of peace activists, Democrats, Marxists and anarchists attempted to bring attention to a Central American cause that, after the Sandinistas lost power in a 1990 election, was fading from public view. “The Nicaraguan struggle is our struggle,” said a poster designed by the group’
Perhaps there are enclaves in NYC’s commercial bustle where people can lead lives less burdened by the racial history of the U.S., in addition to bettering their lot. Perhaps there are freedoms and opportunities not found in other quarters, either, which have been nurtured by this extended culture. There are schools, like minds, and fellow artists to develop alongside. New York City’s a cultural center, after all.
Despite the decadence and grime, the many fakes, fops, and wannabes drawn to the flame, there is genuine talent and potential genius.
There are also the temptations and realities of celebrity, the creative destruction and ruthlessness of the market, as well as ideas in the modern bubble which can actively discourage artistic development (the incentives and meta-bullshit of a lot of modern art galleries and buyers, the desire for the genius of the Noble Savage).
I believe this is Briton Douglas Murray’s (The Strange Death Of Europe) argument regarding enfant terrible of the 80’s Jean-Michel Basquiat. Whatever natural talent Basquiat may have had, and however much the larger culture thought itself supposedly ready to celebrate such an artist, it is a mess.
Basquiat, through relentless self-promotion, found himself blown up like a balloon over 5th avenue.
Murray:
‘It was not obvious that Basquiat would end up the producer of such trophies. Born in Brooklyn in 1960, he left school at 17 and first gained attention through his co-invention, with a friend, of a character called “SAMO.” Graffiti signed with this name cropped up in SoHo and on the Lower East Side in 1978.’
and:
‘Friends claimed that Basquiat was famously independent of mind and that nobody could tell him what to do. They should at least have tried. If they had said at the outset that, instead of dealing his work, they would help him learn the skills needed to pursue it, then he might not have banged his head so visibly and continuously against his own limitations throughout his short career. Perhaps he understood that he was only getting away with something and worried when it might end. Far greater artists than he have had similar fears and been brought down by them.’
‘Religion is diminished into celebrity..a kind of reverse apotheosis.‘
‘This alienation of the work from the common viewer is actually a form of spiritual vandalism.’
It’s tough to say that art is really about religion (though much clearly is), but rather more about an experience Hughes wants as many people as possible to have, and that such experiences can elevate and expand.
On that note, some previous links and quotes:
Donald Pittenger, at Art Contrarian, and formerly of 2 Blowhards, has been looking at modernism. From the banner of his blog:
‘The point-of-view is that modernism in art is an idea that has, after a century or more, been thoroughly tested and found wanting. Not to say that it should be abolished — just put in its proper, diminished place’
‘…aesthetics is going to replace ethics, art is going to replace religion, as the means through which educated people express their spiritual worthiness…‘
Somewhere apart from Medieval, Christian, Classical and pre-Enlightenment forms of authority and social hierarchy; somewhere away from the kinds of patronage, inspiration, rules, money that bent and shaped previous Art, emerged the Enlightenment and came the Romantic, Modern, and Postmodern.
***As for ideas to fill the holes, there’s definitely one path from Hegelian ‘Geist’ to Marxist class-consciousness to the revolutionary and radical doctrines found in the postmodern soup…but there are also problems with the liberation of the ‘Self’ from Schopenhauer’s ‘Will’ to Nietzsche ‘Will to Power.’
Thanks, reader:
Is street-art, or the use of graffiti & mixed-materials performed illegally out in public (on public and privately owned property) partly due to the success of capital markets?
One brander calling out another in the marketplace in a bid for fame, celebrity and self-promotion?:
‘The show is called “Ho,” as all the paintings are based on Instagram posts from the feed of model Adrienne Ho—the self-curated building blocks of her own personal brand—and to see the huge diptychs in person, the torrent of bilious blog posts hellbent on exposing Mr. Ripps as a misogynist, seems a little overblown. They’re just oil works on square canvas, but I was a tad surprised at how skillful they were, given that my exposure to Mr. Ripps had thus far been through the ad campaigns of his design firm, his internet hijinks, and his collaborations with fashion designers like Nicola Formichetti and rap producers like Mike Will Made It. Not through painting.’
Where post-pop, (some) art history and theory, meets coding and game design, meets post-Koons art marketeering?
Robert Hughes really didn’t like the lack of acquired skill and mastery of materials many moderns lack.
There have been a lot of virulent reactions to ‘modern’ life and technology ranging from utopian futurism to nihilism to consumerism and a kind of dejected anti-consumerism and spiritual malaise.
—————
Camille Paglia wants to tilt the culture more towards art education, but manages to resist the more virulent strains of secular ideology filling the modern hole, pushing back against the radicalism of feminist ideology when it encroaches upon aesthetics:
Beauty, ugliness, youth, strength, and decay: Via Mick Hartley Bruce Davidson at Magnum’s ‘Subway (NYC subway during the 1980’s).
Recommended.
Was a subway ride in the early 1980’s really that wild, violent, dirty and dangerous? Why am I taking such pleasure in the beauty of the images?
NYC holds a place in many, many people’s minds (mine included); however small a place and however much based upon words, images, and hearsay.
February
A chimney, breathing a little smoke.
The sun, I can’t see
making a bit of pink
I can’t quite see in the blue.
The pink of five tulips
at five p.m. on the day before March first.
The green of the tulip stems and leaves
like something I can’t remember,
finding a jack-in-the-pulpit
a long time ago and far away.
Why it was December then
and the sun was on the sea
by the temples we’d gone to see.
One green wave moved in the violet sea
like the UN Building on big evenings,
green and wet
while the sky turns violet.
A few almond trees
had a few flowers, like a few snowflakes
out of the blue looking pink in the light.
A gray hush
in which the boxy trucks roll up Second Avenue
into the sky. They’re just
going over the hill.
The green leaves of the tulips on my desk
like grass light on flesh,
and a green-copper steeple
and streaks of cloud beginning to glow.
I can’t get over
how it all works in together
like a woman who just came to her window
and stands there filling it
jogging her baby in her arms.
She’s so far off. Is it the light
that makes the baby pink?
I can see the little fists
and the rocking-horse motion of her breasts.
It’s getting grayer and gold and chilly.
Two dog-size lions face each other
at the corners of a roof.
It’s the yellow dust inside the tulips.
It’s the shape of a tulip.
It’s the water in the drinking glass the tulips are in.
It’s a day like any other.
You know, the Bonfire Of The Vanities was about very similar circumstances: The satire of the liberal intelligentsia is pretty rich, as well as the Southern Gentleman’s WASP ‘rejuvenation.’ You just know Christopher Hitchens had to get-in on that action:
From the Late Show in 1989 with Howard Jacobson.
New York City is unlike most other places in America. Was Tom Wolfe seeing things clearly, as they really are?
The journey of The Western Self bears proper care.
According to some folks at The New Yorker magazine, the only answer to injustice is radical and revolutionary equality.
To be fair, the logic embedded within much radical chic usually reveals itself to be cool at first, the same old murderously bad doctrinaire utopianism a little later on:
Not the ‘right’ kind of emptiness for Richard Brody, at The New Yorker, in Todd Phillips’ ‘The Joker.’
‘“Joker” is an intensely racialized movie, a drama awash in racial iconography that is so prevalent in the film, so provocative, and so unexamined as to be bewildering.’
Brody’s review is as much about historical events (The Central Park Five), and moral judgments surrounding these historical events (racist and nothing else, Trump is horrible) as it is about the movie.
Apparently graffiti art does have a price, and it may be much more than $$$:
Ruling that graffiti — a typically transient form of art — was of sufficient stature to be protected by the law, a federal judge in Brooklyn awarded a judgment of $6.7 million on Monday to 21 graffiti artists whose works were destroyed in 2013 at the 5Pointz complex in Long Island City, Queens.
Would you be willing to undermine property-rights and the rule-of-law?
A NY Times beat reporter shared in the suffering of those graffiti artists whose 5pointz canvas was whitewashed in preparation for demolition by owner Jerry Wolkoff.
‘One street artist, who would give his name only as Just, had at least two works painted over. He spent hours early Tuesday gazing at the whitewashed buildings, leaning against a red-brick wall across the street. Then he bought himself a tall glass of beer, which he sipped slowly from a brown paper bag.
“Heartbreaking,” he said. “This is not just about graffiti — it’s about the unity of people who met here from all over the world.” He paused and took a drink. “That’s what really hurts.”
Once the real-estate market began heating-up in NYC, Wolkoff decided to whitewash his building overnight..
Every bit of graffiti scrawled there over 40-years was at his discretion.
Personally, I don’t take pleasure in the erasing of people’s hard work and creativity, nor in the breaking-up of a graffiti-collective which traveled far and wide to get to 5pointz, nor even in the iconic stature they gave the place, but David Thompson sums it up pretty well:
‘The moral of the story, gentlemen, is buy your own canvas’
The pathos in the Times article stops short of a familiar ‘art will unite all races, classes, & genders,’ type of Leftist political ideology.
I”m getting a sense that even should graffiti become a longer-lasting vehicle for artistic expression, beyond the street, it likely began for many non-taggers possibly in affect, driven by ideology, or the boredom and rebellion of the suburbs and people looking for some meaning in their lives.
What are they overlooking? What are they looking for? What do the people looking at the work might think they’re looking at?
Or perhaps it would have been better to celebrate the way street-culture and graffiti has interacted with money and market forces through tourism. 5pointz arguably was a tourism draw.
From The Times piece:
‘Though street art is meant to be temporary, 5Pointz became known as a graffiti museum. And the medium itself, once considered a symbol of urban unraveling, became a sought after gallery-worthy commodity, with work from street artists like Banksy commanding millions of dollars. Which is one of the reasons the whitewashing of 5Pointz’s walls was greeted with such vociferous dismay. “What?! What did they do?!” cried a tour guide named Hans Von Rittern, as he raced out of a tour bus early Tuesday, his arms wide, his face crumpling as soon as he caught sight of Ms. Flaguel. They embraced tightly and wept.’
I can think of some possible messages being sent by the law:
–You don’t have to work and own something to have ownership in it (normalizing a collectivism which rejects the property-rights of others…thus your property rights as well…for what’s to stop the next guy from tagging over your tag?). Someone else owns all this building anyways, so screw him, and screw the guy who came before me too.
–The value of artistic creation is yet again associated with money in the modern world (partially out of guilt, I suspect), and not so much with self-expression, technique, craft, freedom, and moments which can elevate and expand, offering meaning within a process.
–The criminality associated with graffiti is also tactily rewarded/overlooked by a court of law (there are real victims to the kinds of activity that can accompany tagging). I would much rather have lawmakers and law enforcers hold a simple line, rather than set the wrong incentives.
It can’t have been a good day for those who lost something. It’s hard out there.
Here’s a video:
More broadly, romanticizing the logic of the street, and taggers, comes with its own risks. Celebrate the spirit of creative lawlessness and turf warfare with the full acceptance that there ain’t much law involved. I’m sure 5pointz served as an escape, and a positive environment for many, but all the other things going on in these neighborhoods aren’t so uplifting, hence, it’s importance.
Not the ‘right’ kind of emptiness for Richard Brody, at The New Yorker, in Todd Phillips’ ‘The Joker.’
‘“Joker” is an intensely racialized movie, a drama awash in racial iconography that is so prevalent in the film, so provocative, and so unexamined as to be bewildering.’
Brody’s review is as much about historical events (The Central Park Five), and moral judgments surrounding these historical events (racist and nothing else, Trump is horrible) as it is about the movie.
Basic plot, aesthetics, and stylized choices are kind of what I’m after in a movie review, with some of the reviewer’s own expertise and respect for the reader’s intelligence thrown-in (should I see this movie?).
‘The opening scene, in which Arthur, who’s peacefully but unhappily twirling a sign for a discount store, is taunted and then beaten by a gang of Latino-coded thugs, draws directly on the narrative of white persecution so effectively weaponized by Donald Trump.’
Moving along-A reader sends a link to The Confessions Of Bernhard Goetz, subway vigilante. What kind of public sentiments, professional incentives and lack of moral courage would get in the way of a fair trial (facts and law?)
There’s a lot here: Genuine threat (thugs), fear, real victimization (previous muggings and a likely soon-to-be mugging), but also serious ignorance and over-reaction.
I imagine Goetz was a bit like a feral animal fleeing out of that subway car, up the station stairs and into the night.
—
You know, the Bonfire Of The Vanities was about very similar circumstances: The satire of the liberal intelligentsia is pretty rich, as well as the Southern Gentleman’s WASP ‘rejuvenation.’ You just know Christopher Hitchens had to get-in on that action:
From the Late Show in 1989 with Howard Jacobson.
New York City is unlike most other places in America:
===============
Was Tom Wolfe seeing things clearly, as they really are?
Certainly the liberal pieties and the conflicted, activist base is still ripe for the picking…for what is preventing the mocking of the Brooklyn hipster and the echoing of ‘This Land Is Your Land’ across the fruited plain?:
As posted: Maybe some deeper currents from Romanticism to Modernism to Postmodernism are worth thinking about. As I see things, many people who care deeply about the avant-garde also can bind themselves to ever narrower political and ideological commitments.
The journey of The Western Self bears proper care.
According to some folks at The New Yorker magazine, the only answer to injustice is radical and revolutionary equality.
To be fair, the logic embedded within much radical chic usually reveals itself to be cool at first, the same old murderously bad doctrinaire utopianism a little later on:
‘The basic problem is that North Korea’s regime has proved the most enduring totalitarian system of the past century. Kim’s grandfather was installed by Stalin as North Korea’s founding tyrant at the end of World War II, wielding power that has now been entrenched, honed and passed along down three generations.’
How can a regime be so bad with a subway station that good?
So can the Straussian scholars recognize that in this and other ways the Liberal Enlightenment has succeeded? It’s not clear. Generally, Strauss and his followers insist that liberalism must fail because it denies the natural fact of the contradiction between social order and philosophic truth, so that every social order must be closed to any philosophic or scientific enlightenment. A crucial consequence of this natural fact is the necessity and desirability of esoteric writing: philosophers or scientists seeking the truth about nature must write and speak in such a way as to hide their true teaching from the multitude of people who would be harmed by this teaching.
‘Bill de Blasio, then 26, went to Nicaragua to help distribute food and medicine in the middle of a war between left and right. But he returned with something else entirely: a vision of the possibilities of an unfettered leftist government.
Dream big, impractial dreams: Red, green and white dreams (helping oppressed brown bodies juxtaposed in space).
However tumultuous American politics gets, just remember it’s not as peace-affirming as Peace Pavilion West and Peace Plaza East (hanging gardens of community kale).
Here are some recent tweets from our community.
Won’t you join us?:
First, we mobilize Youth Consciousness towards Community Goals:
The Sunshine Youth Brigade is leading the War on Climate at Peace Plaza East. The 8-12 yr olds look especially healthy after insect-paste rationing. Namaste
‘The stoop of every strong back into collective soil is a form of Enlightenment. Every global child’s smile in the face of Climate Catastrophe bears transcendent meaning. Come unto me, my lambs, and let’s build our Utopia.’ -Dale Lonagan, Founder, Peace Pavilion West.
Coffee has become contraband at Peace Plaza East. If caught using Gaia’s precious fluids for growth of coffee beans, you will be banished from the Human Pagoda. See the new Global Edict. Namaste.
At Peace Pavilion West, each progressive stop on the journey back to 1751 gets us closer to Romantic Nature. Man has despoiled Nature and his own purity ever since his Industrial Revolution. Liberation is mandatory. Equality is next. Come see us at The Human Pagoda. Namaste.
Brutalistarchitecture flourished from the 1950s to the mid-1970s, having descended from the modernist architectural movement of the early 20th century. The term originates from the French word for “raw”, as Le Corbusier described his choice of material béton brut, meaning raw concrete in French.’
Our local host and local guest pick favorite (unfavorite) examples of ‘raw concrete’ buildings in NYC and alternately discuss some facts about each one.
Some buildings mentioned: 375 Pearl Street is being worked on. The ‘Krull‘ Long Lines building is not for use.
—
As posted
Some people who commissioned Boston’s City Hall were probably thinking they were bringing something new and wonderful into the world: Inspiring, modern, transformative.
The folks at bureaucratic levels up-top would steer this concrete ship, scanning the Horizon for The Future. The People down below, justly and benevolently guided, would feel welcome and do people-y, citizen-y things as though in a terrarium.
Maybe that’s why it’s not so popular.
Well, at least it isn’t Buzludzha, The Communist Spaceship plopped down as though from a world of Pure Ideology, Nature properly subdued:
As previously posted:
–Visit Lileks.com. A fine humorist with a sharp pen and a keen eye.
Here’s Australian art critic Robert Hughes discussing the Albany plaza, and almost hyperbolically criticizing the aims of modernist architecture.
***Fun fact, he pronounces the “Boogie Woogie” the “Boo-gie Woo-gie.”
‘The real feat achieved by Gropius and his cohorts was to have recognized and exposed the sociopolitical and moral power of architecture and design. They wanted to exert “effective influence” on “general conditions,” fashion a more just world and turn all of this into a “vital concern of the entire people.”‘
See Also: They designed a city in the heart of Brazil that really doesn’t work for people: Brasilia: A Planned City
Perhaps there are enclaves in NYC’s commercial bustle where people can lead lives less burdened by the racial history of the U.S., in addition to bettering their lot. Perhaps there are freedoms and opportunities not found in other quarters, either, which have been nurtured by this extended culture. There are schools, like minds, and fellow artists to develop alongside. New York City’s a cultural center, after all.
Despite the decadence and grime, the many fakes, fops, and wannabes drawn to the flame, there is genuine talent and potential genius.
There are also the temptations and realities of celebrity, the creative destruction and ruthlessness of the market, as well as ideas in the modern bubble which can actively discourage artistic development (the incentives and meta-bullshit of a lot of modern art galleries and buyers, the desire for the genius of the Noble Savage).
I believe this is Briton Douglas Murray’s (The Strange Death Of Europe) argument regarding enfant terrible of the 80’s Jean-Michel Basquiat. Whatever natural talent Basquiat may have had, and however much the larger culture thought itself supposedly ready to celebrate such an artist, it is a mess.
Basquiat, through relentless self-promotion, found himself blown up like a balloon over 5th avenue.
Murray:
‘It was not obvious that Basquiat would end up the producer of such trophies. Born in Brooklyn in 1960, he left school at 17 and first gained attention through his co-invention, with a friend, of a character called “SAMO.” Graffiti signed with this name cropped up in SoHo and on the Lower East Side in 1978.’
and:
‘Friends claimed that Basquiat was famously independent of mind and that nobody could tell him what to do. They should at least have tried. If they had said at the outset that, instead of dealing his work, they would help him learn the skills needed to pursue it, then he might not have banged his head so visibly and continuously against his own limitations throughout his short career. Perhaps he understood that he was only getting away with something and worried when it might end. Far greater artists than he have had similar fears and been brought down by them.’
‘Religion is diminished into celebrity..a kind of reverse apotheosis.‘
‘This alienation of the work from the common viewer is actually a form of spiritual vandalism.’
It’s tough to say that art is really about religion (though much clearly is), but rather more about an experience Hughes wants as many people as possible to have, and that such experiences can elevate and expand.
On that note, some previous links and quotes:
Donald Pittenger, at Art Contrarian, and formerly of 2 Blowhards, has been looking at modernism. From the banner of his blog:
‘The point-of-view is that modernism in art is an idea that has, after a century or more, been thoroughly tested and found wanting. Not to say that it should be abolished — just put in its proper, diminished place’
‘…aesthetics is going to replace ethics, art is going to replace religion, as the means through which educated people express their spiritual worthiness…‘
Somewhere apart from Medieval, Christian, Classical and pre-Enlightenment forms of authority and social hierarchy; somewhere away from the kinds of patronage, inspiration, rules, money that bent and shaped previous Art, emerged the Enlightenment and came the Romantic, Modern, and Postmodern.
***As for ideas to fill the holes, there’s definitely one path from Hegelian ‘Geist’ to Marxist class-consciousness to the revolutionary and radical doctrines found in the postmodern soup…but there are also problems with the liberation of the ‘Self’ from Schopenhauer’s ‘Will’ to Nietzsche ‘Will to Power.’
Thanks, reader:
Is street-art, or the use of graffiti & mixed-materials performed illegally out in public (on public and privately owned property) partly due to the success of capital markets?
Eight dead so far after another Islamic terror attack, likely inspired by well-known Islamist ideology and all manner of other grievance (truck plows into pedestrians and bicyclists).
I made a prediction a few years back, in hopes of trying to peg down expected frequency rates of these kinds of attacks (I simply want to know what the risks might be). I would like to be served the facts, whatever security measures might be going-on behind the scenes.
‘I expect another attack with 0-15 deaths within 1 1/2 years, and 15 deaths or greater within 3-5, due to radical Islam (not necessarily homegrown). I’ll check in with this prediction in time.’
Since June 12th, 2016, there have been 3 attacks resulting in 0 deaths, but 50 injuries, and now an attack resulting in 8 deaths, and multiple injuries:
St. Cloud, MN-September 17th, 2016-9 injured in a knife attack at a mall
New York/NJ-September 17th, 2016-30 injured in a series of bombs
Columbus, OH-November 28th, 2016-11 injured, 1 critically in car/knife attack
New York City-October 31st, 2017-8 dead, ~7 injured-Home Depot truck attack.
Lawrence Wright discussed his long years reporting on Islamic terrorism (he spent some time in Egypt in his youth) at the Philadelphia Free Library. It might offer some insight.
***There is a point where I become reasonably angry as Wright mentions his creative work (good for him!) has attracted the likes of celebrities and groups of political idealists in high-society. These are types I see as not having the courage to properly confront this issue from anything outside a narrower band of their own beliefs, principles and self-interest, exposing us all to worse options, while lecturing us how to live and what to do.
On that note, others are filling in the gaps at great personal risk with courage and a more clear-eyed realism (there are many pieces to a bigger puzzle):
Theodore Dalrymple at The City Journal compares money, the individual, and the social in Depression-era Soviet and American art:
‘I was struck by the parallels between the furious debates among artists in the early years of the revolution and those that raged during the Depression about the “correct” way to paint and the role of art in society—the assumption being that an indubitably correct answer was there to be found, as if there could not be many mansions in art, as if appreciation of one style automatically precluded admiration for another. The debates were highly ideological: in the Russian case, about what activity truly served the revolution and the proletariat (itself an abstraction, very different from workers’ actual lives); and in the American case, about what activity was truly American.’
To be flippant, as previously posted on this site: A little piece I like to call ‘Stalin’s Fingers’ in Seattle. Comic and graphic art may be taking up some of the muscularity of socialist realism and public-works solidarity.
Fun fact: During times of stress, Josef Stalin is said to have marched his fingers just so across his desk, transgressing his own boundaries!
You might have noticed those tiles already look a little drab and dated, even though construction only finished a few years ago.
More here on the piece (apologies to all comic/graphic artists ahead of time, for not portraying your craft with as much fidelity as it probably deserves).
Our muraliste is a comic/graphic artist tapped to make signs and symbols for all the Community:
‘Forney, originally from Philadelphia…landed the light rail station gig back in 2008 after submitting a series of paintings of hands in provocative positions to Sound Transit — paintings which had originally been featured in the 2007 Seattle Erotic Art Festival. The series was called Big Fuckin’ Hands.’
‘In a wide-ranging and candid interview with New York, Mayor Bill de Blasio casually noted that the “way our legal system is structured to favor private property” provokes his “anger, which is visceral.”
De Blasio likely places certain ideals (‘community,’ equality, and cooled revolutionary spirit) above private property, free enterprise, and individual liberty, even as he’s collecting the wealth from the successes of NYC finance, trade, property taxes, and tourism.
‘Bill de Blasio, then 26, went to Nicaragua to help distribute food and medicine in the middle of a war between left and right. But he returned with something else entirely: a vision of the possibilities of an unfettered leftist government.
and:
‘His activism did not stop. In the cramped Lower Manhattan headquarters of the Nicaragua Solidarity Network of Greater New York, where he volunteered, Mr. de Blasio learned to cause a stir. He and a ragtag team of peace activists, Democrats, Marxists and anarchists attempted to bring attention to a Central American cause that, after the Sandinistas lost power in a 1990 election, was fading from public view. “The Nicaraguan struggle is our struggle,” said a poster designed by the group’
