A message arrived this weekend from the SoCal Arbeter Ring, the Worker’s Circle, a leftist society devoted to preserving and perpetuating the gone-missing culture and language of Jewish Eastern Europe, itself the object of annihilation that Palestinians would hope to avoid.,
“Our Mural Defaced – Again!” came the Arbeter Ring’s anguished plea.
Over the weekend, our “A Shenere, Besere Velt (A more beautiful, better world)” mural was the target of anti-Israel hate. Even though the Arbeter Ring stands for equal rights for Palestinians, especially for those undergoing the hardships in Gaza, we have been specifically hit. The Israeli and American flags have been painted over with the Palestinian flag and an upside-down protest version of the American flag.
Yes, “taggers,” you got our attention. Are you happy? You who desecrated another artist’s work in an act that does absolutely nothing to further your cause — only bringing hate against an undeserving target and sadness to our community and zero aid to Palestinians. Go make your own mural. Writes the victim of desecration:
We are asking for your financial support to repair this defacement. We can’t do it without your help. You can click here for our PayPal page or send a check made out to: SoCal Arbeter Ring, 1525 S. Robertson Blvd., Los Angeles, CA 90035.
A groysn hartsikn dank!
A similarly anguished message came from the other side of Los Angeles: Friend of Arts Meme (F.O.A.M.) Chris Nichols, an intrepid culture and arts reporter who is also a civic hero, risked live and limb making this short, sad documentary.
“Why do we have to live this way?” queried Nichols in clear frustration.
The longtime staff writer at Los Angeles Magazine explains that the historic 2nd Street tunnel in Downtown Los Angeles was built in 1924 and covered in unique German art tile that reflected and refracted light, turning a mundane transport hole into a magical sparkly experience. This century-old landmark was a popular filming location for movies including Independence Day and Blade Runner. The tile walls made it hugely popular for glamorous car commercials showing off the beautiful light…There was even a fashion show and a Golden Globes party inside?! For the last five years it has been graffiti-ed and forlorn. When the city last tried to remove some of this, it painted a dull white finish over the walls leaving them damaged and a blank canvas for more spray paint.
The above is a purposefully provocative image, but at least it is honest. With all due respect for the skill, energy, and vibrancy associated with the graffiti movement, now grandly called “aerosol art,” we will decline the kind invitation to the upcoming “Style Masters,” exhibit at the Coral Gables Museum of Art in Florida, opening on Friday July 18.
A highly romanticized text explains the exhibit along these lines:
Welcome to a survey of the evolution of aerosol art and culture, its roots in New York City as a 1970s teenage pastime, its explosion in popularity on the City’s walls and trains, and how it went global to become the largest and most powerful art movement in recorded history. Breaking away from centuries of public graffiti that communicated messages of God, love, political beliefs, or just plain humor – youth in New York City and Philadelphia began writing their names in flamboyant, individualized fonts on any public surface they could find. This practice, later called Style Writing, served as art training for youth who lacked formal classes or approved creative outlets. Within a decade a new worldwide art movement emerged. It was rebellious, expressive and led by teenagers committed to leaving a mark on society.
We get it. We do not deny the talent, originality, energy, even the artistic merit when taken out of context, and the drive to “leave a mark.” But here in Los Angeles, where “aerosol art” is concerned, we’re just not in the mood.
Arts journalist Debra Levine is founder/editor/publisher of arts●meme. Debra celebrated forty years of published dance criticism in 2024.
