I’m about to get my virtual ass kicked with this post. This might get more negative comments than anything I’ve ever written before. I know that. Any yet, here I am.
On Thursday, word hit the internet that Blu had painted a mural on The Geffen Contemporary at MOCA in LA but that it had been whitewashed. On Saturday, Vandalog was the first site to publish any official comments from MOCA. And late on Monday, The LA Times has finally published some substantive comments from museum director Jeffrey Deitch about the whole series of events.
Here’s a selection from the article:
Reached by phone while traveling, MOCA director Jeffrey Deitch confirmed that he made the decision because the mural was “insensitive” to the community.
“This is 100% about my effort to be a good, responsible, respectful neighbor in this historic community,” Deitch said. “Out of respect for someone who is suffering from lung cancer, you don’t sit in front of them and start chain smoking.
“Look at my gallery website — I have supported protest art more than just about any other mainstream gallery in the country,” he added. “But as a steward of a public institution, I have to balance a different set of priorities — standing up for artists and also considering the sensitivities of the community.”
He rejects the talk of censorship. “This doesn’t compare to David Wojnarowicz. This shouldn’t be blown up into something larger than it is,” he says, describing a curator’s prerogative to pick and choose what goes into a show. “Every aspect of the show involves a very considered discussion.”
The unfortunate thing, he acknowledges, was the timing, as the artist began the mural while Deitch was out of town earlier this month for the art fair in Miami. “Blu was supposed to fly out the second-to-last week in November, so we could have conversations about it in advance,” Deitch said. “But he said he had to change his flights, so he ended up working in isolation without any input.”
When he returned from Miami and saw the mural, then more than halfway completed, Deitch said he made the decision to remove it very quickly, unprompted by complaints. “There were zero complaints, because I took care of it right away.” He asked Blu to finish the work so it could be documented as part of the exhibition and appear in the accompanying catalog.
I’ve got to stand by Deitch 100% on this. Besides the very legitimate reasons he mentions for removing the mural, his appointment to MOCA was a very controversial one. We don’t live in a perfect world, and this was a pragmatic move which takes into consideration the larger concerns of MOCA and the LA community. Yes, this whole thing was a poorly managed series of unfortunate events resulting in a great artist’s work being destroyed (after, what I assume was extensive documentation which is how the vast majority of street art and probably art in general is viewed these days), but Deitch made the right move for the wider museum. Things shouldn’t have gotten out of hand, and they did, but Deitch has acknowledged that. Look at the situation from Deitch’s perspective when he showed up in LA to a half-finished mural that he knew would not work.
Deitch made a curatorial, respectful (of the LA community) and politically pragmatic decision to remove a work from an exhibition that he had not approved for inclusion in the show. If he had seen a sketch beforehand (as he should have), let the wall get painted and then removed it, this would be a very different discussion. Although some have suggested that this signals disaster ahead for his upcoming street art exhibition in April, I am not so sure. Sebastian at Unurth and I have a friendly bet going based on the average of reviews of MOCA’s street art show in the LA Times, Unurth and Vandalog: If the reviews are positive, he buys drinks next time we see each other and if the reviews are negative, I have to buy the drinks. So we’ll see how that turns out in a couple of months.
Photo by vmiramontes
Category: Art News, Featured Posts, Gallery/Museum Shows | Tags: blu, deitch, mocala