Category: Art Activism

Police State

As a nineteen-year-old in 1973, I was captivated by the Austrian painter, Oskar Kokoschka (1886-1980). At the time I was enthralled by the German Expressionist artists who opposed the rot of the German ruling class in the post World War I period. I saw parallels between the life and times of those artists and my own chaotic age. When I read that Kokoschka became known as a young art student in Vienna for his disquieting paintings, earning the name of Oberwildling (meaning “top savage” or “maniac”), I felt a certain kinship with him.

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"Police State" - Mark Vallen. Pen & ink on paper. 8 x 10 inches. 1973.

In 1973 I created a drawing in my student sketchbook that was meant purely as an exercise; I never intended to show the sketch to anyone. Considering our tenuous collective future, I think it is important to show, and explain the artwork. I made the freehand drawing with a “rapidograph” technical pen, a tool I used often in those days. Symbolic of mute terror, the angst ridden face in the ink drawing was left without a mouth. A wordless homage to the Viennese savage, the face was loosely based on a photo of Kokoschka by Danish photographer Erling Mandelmann. But Kokoschka and his fellow Expressionists were not the only thing on my mind during those days.

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"Police State" - Mark Vallen. Detail. The sketch is made of hand-drawn crosshatched lines.

The Cold War was at its height and Richard M. Nixon was serving his first term as president. He had expanded the unpopular war in Vietnam with the massive aerial bombing of neighboring Laos and Cambodia (1969-1973). That campaign, kept secret from the U.S. Congress and the American people, dropped more bombs on Laos than the U.S. managed to drop on Nazi Germany and Imperial Japan during WWII. The 1970 U.S. invasion of Cambodia unleashed a nation-wide antiwar student strike in the U.S. that culminated with National Guard troops killing four students and wounding 9 others at Kent State University on May 4, 1970.

A feeling of doom was descending upon my generation, the war appeared to be endless and a police state seemed to loom large in our future.

Then came the May 1972 break-in at the Democratic National Committee headquarters at the Washington, DC Watergate hotel. The burglary was conducted by operatives of the Nixon administration’s Committee to Re-elect the President. Their mission was to bug the office and steal documents, using the intelligence to help defeat the Democrats in the 1972 election. It was all part of Nixon’s despotic toolbox, like his COINTELPRO program of repression aimed at political opponents in the U.S.

In November of 1972 I was traveling in Italy when the news was announced that Nixon had been re-elected by a “landslide.” I contemplated the implications of the report while standing inside the ancient Colosseum in Rome. Surveying the arena where gladiatorial combat and the burning of Christians once pleased the citizens of ancient Roman, the idea that little had changed since the days of Caligula swept over me. 1973 brought no relief, and events led me to make the pen and ink drawing shown in this post.

Since Nixon was forced out of office in 1974 to avoid impeachment, a number of U.S. leaders have come and gone, but I was wrong about one thing, there really could be worse leaders than Richard Milhous Nixon.

"Police State" - Mark Vallen. Pen & ink on paper. 8 x 10 inches. 1973.

"Police State" - Mark Vallen. Detail.

Our current Caligula signed the National Defense Authorization Act (NDAA), which allows for the “indefinite detention of American citizens without due process at the discretion of the President.”

In other words, goodbye habeas corpus.

It has been revealed that Caligula personally draws up “kill lists” with his Praetorian Guard during “Terror Tuesday” meetings. Those placed on the list then become targets for the Hellfire missiles fired by Caesar’s predator drones.

It is a shame more innocent bystanders are killed in those attacks than are barbarians, but that is the cost of imperium. The Most Noble Caesar also has the entire population of the empire under intense surveillance, because of course, he loves us so.

As for me, I am still drawing pictures in my private sketchbooks that rail against Caesar, his police state legions, and his imperial wars. Perhaps in 40 years those drawings will be shared with the public - provided that democratic governance exists.

The New World Border Exhibit

The New World Border traveling exhibit was originally organized in 2011 by three artists from the San Francisco Bay area of Northern California, Francisco Dominquez, Art Hazelwood, and Doug Minkler. The exhibit is comprised of prints created by thirty artists from around the U.S. who are opposed to the construction of a giant “security” wall along the U.S./Mexico border. The collection of linoleum cuts, silk-screens, monoprints, offset and digital prints has so far been exhibited in 9 states across the U.S. in sixteen different venues.

The exhibit premiered at the La Peña Cultural Center in Berkeley, California, where it ran from March 3rd to April 30, 2011, and it concluded a run at its sixteenth venue, La Casa del Túnel: Art Center in Tijuana, México, for the month of September, 2013.

"No Border Wall" - Mokhtar Paki. Digital print, 2011.

"No Border Wall" - Mokhtar Paki. Digital print, 2011.

Included in the exhibit is Mokhtar Paki’s digital graphic, No Border Wall, an anthropomorphic depiction of the barrier that scars the boundary between the U.S. and Mexico. The artist portrayed the wall as having been transformed into a goliath police force automaton.

Created from inanimate materials - concrete, barbed wire, and a closed-circuit television spy camera for an eye - the creature has been endowed with life by the national security state in an attempt to keep humanity divided. The concrete slabs that form the monster’s head also allude to the so-called “Security Fence” Israel has constructed around the Palestinian West Bank.

However, since its creation, Paki’s artwork has been given another layer of meaning. President Obama’s NSA surveillance program is currently spying on every American that sends an e-mail, views a webpage, posts a photo to social media, or uses a cell phone.

I am not a fan of “appropriation” in postmodern art. Too often the methodology is employed in such a way that the “repurposing” of another artist’s work not only leads to a facile style that does not require much imagination and even less skill, it also strips history from our collective consciousness. As a rule such works offer little more than cynicism and a supposed “ironic” view of life, concomitantly avoiding any substantive critique of the social order.

An accepted practice with today’s elite art establishment and its stables of revolting art stars, “appropriation art” is a far cry from its origins, the radically subversive “détournement” that members of the late 1950s Situationist International (SI) advanced.  For those revolutionists, it was a method of “turning expressions of the capitalist system and its media culture against itself.”

That being said, Nancy Hom’s digital print, Catalina’s World, is an example of how appropriation works best in visual art. Hom is counting on the viewer being familiar with the famous 1948 painting by Andrew Wyeth, Christina’s World, since her print would be meaningless without foreknowledge of Wyeth’s tour de force. Hom re-imagined Wyeth’s realist painting as a hard-edged, silkscreen-like image, and in the process transformed Wyeth’s magnum opus into a depiction of the sad realities now occurring at the U.S., Mexico border.

"Catalina’s World" - Nancy Hom. Digital print, 2011. "As she treads wearily towards the promised land of El Norte, the very earth she crawls upon becomes death itself."

"Catalina’s World" - Nancy Hom. Digital print, 2011. "As she treads wearily towards the promised land of El Norte, the very earth she crawls upon becomes death itself."

Wyeth painted a portrait of his neighbor Christina, a woman incapacitated by polio whose courage and will to live was not at all stricken; as Wyeth put it, she was “limited physically but by no means spiritually.” Somehow the depiction of the woman crawling through a parched field of tall grass towards a hilltop wooden farmhouse conveys a great sense of optimism; Wyeth’s brilliant treatment of sunlight and open space suggests, not a world of pain, but one of boundless freedom. Christina is an enchanted being that makes her way through a dreamlike realm where all things are possible. Wyeth’s celebration of mystery and the indomitable human spirit can easily be categorized as “magical realism,” a genre that today is most often associated with the artists of Latin America; here we begin to slip into Nancy Hom’s vision.

In Hom’s print, Christina has metamorphosized into Catalina, an archetypical Latina. As an “everywoman” figure, Catalina also displays bravery and the will to persevere, but instead of finding herself in a sunny dreamland where hope imbues every blade of grass, she is trapped in the nightmare world of the border region. As she treads wearily towards the promised land of El Norte, the very earth she crawls upon becomes death itself - a morbid reminder of the thousands who have perished from thirst or violence in failed attempts to cross the border over the years.

"Quetzal" - Fernando Marti. linocut, monoprint, and hand painted watercolor. "Complying only with the laws of nature."

"Quetzal" - Fernando Marti. linocut, monoprint, and hand painted watercolor. "Complying only with the laws of nature."

Fernando Marti’s Quetzal is a dazzling poster, for its message as well as its technical virtuosity; the print is a combination of linoleum cut, monoprint, and hand-painted watercolor.

The simple black and white linoleum cut of the border security fence is convincing in its minimalism, as is the rocky barren landscape it divides. Soaring above the scene is a magnificent Quetzal, the bird most closely associated with Central America; sacred to the indigenous people of the region, the bird is a symbol of freedom to many.

The pre-Columbian border design and the “speech glyph” emanating from the bird, allude to the role the Quetzal played in the ancient Maya and Aztec civilizations. The Quetzal flies freely over the fence, complying only with the laws of nature and ignoring the false divides imposed by nation states.

"Ningun ser Humano es Ilegal" (No Human Being is Illegal). Mark Vallen. Offset poster ©. This photo shows the poster carried at the 2010 Chicano Moratorium march in Los Angeles, CA.

"Ningun ser Humano es Ilegal" (No Human Being is Illegal). Mark Vallen. Offset poster ©. This photo shows the poster carried at the 2010 Chicano Moratorium march in Los Angeles, CA.

My own No Human Being is Illegal poster is included in the show. First published as a bilingual street poster in 1988, its title eventually became a catchphrase for today’s defenders of immigrants’ rights. The poster’s axiom is an emphatic affirmation of the inherent rights possessed by humankind. It cautions that when individuals are stripped of humanity and designated as “illegal,” then even worse abuses cannot be far behind. Not so long ago it used to be said that a child born to unmarried parents was “illegitimate.” I am hopeful that in the future, the opinion that some people are “illegal aliens” will also become an archaic expression.

No Human Being is Illegal was original published in conjunction with a 1988 drive conducted by the Los Angeles based Central American Resource Center (CARECEN), to secure the rights of undocumented Central American war refugees in the U.S. During the 1980s Central America was convulsed by revolution and murderous state repression. Seeking to escape the carnage, hundreds of thousands of people furtively entered the U.S., only to find themselves targeted for arrest and deportation back to the killing fields.

Welcome to the Land of Your Dreams by Jos Sances, takes a scatological approach to the issue at hand. Grimly sarcastic, the land of milk and honey resembles nothing so much as an enormous dung-heap, a foul pile made from the detritus of empire. Composed of discarded refrigerators, cars, TVs, disposable consumer products of all kinds… and human bodies, the enormous lopsided rubbish mound is perilously close to falling over from its own weight. The fetid mass is protected by a razor wire topped cyclone fence, the vehicle of an armed security patrol parked at the ready alongside the security fence.

"Welcome to the Land of Your Dreams" - Jos Sances. Digital and Screen-print, 2001.

"Welcome to the Land of Your Dreams" - Jos Sances. Digital and Screen-print, 2001.

At the pinnacle of the mountain of crap sits an amusement park carousel ride, except that the merry-go-round’s painted wooden horses have been replaced with grotesqueries; sitting atop the carnival ride’s rooftop is the logo for the American International Group (AIG). Formerly one of the world’s biggest insurers, AIG collapsed in 2008, was then bailed out by the U.S. government using taxpayer dollars - $182 billion worth - after which AIG used around $1.2 billion of the bailout funds to pay their CEOs lavish bonuses. The dung-heap must be maintained.

Adding a surrealist touch to the miserablist landscape, a gargantuan housefly buzzes over the rotten panorama like a converted crop duster towing an aerial advertising banner; flapping in the wind, the streamer is emblazoned with a mock advertising jingle, which also serves as the title of the print… “Welcome to the Land of Your Dreams.

On the face of it New World Border has a single focus, the border between Mexico and the U.S, but the exhibit provides an opportunity to look closer at a very complex situation; modern Mexico is in a tailspin, and U.S. governmental policy has much to do with it. Mexico is tormented by a vicious “Drug War” that has taken the lives of some 70,000 people, workers in Mexico and the U.S. have suffered immense setbacks under the North American Free Trade Agreement (NAFTA), and the Mexico government is run by the Institutional Revolutionary Party (PRI), a corrupt political party that has held power almost continuously for 71 years. While not directly addressed in the New World Border, these facts form a backdrop for a deeper understanding of the exhibit.

A quick look at Mexico’s humble corn tortilla reveals much. The domestication of corn began in Mexico some 9,000 years ago, and it became the foundation of the great Olmec, Maya, and Aztec civilizations. Corn went on to become a main food crop and staple in Mexico’s centuries old village-based corn economy, with the corn tortilla still reigning supreme. Then came NAFTA. Signed into law by President Clinton, Canadian Prime Minister Mulroney, and Mexican President Carlos Salinas of the Institutional Revolutionary Party (PRI), the supposed goal of NAFTA was the abolition of trade barriers between the capitalists of the U.S., Canada, and Mexico.

One result of NAFTA was that Mexico was flooded with inexpensive U.S. corn imports produced by American corporate agribusiness, so much that Mexico’s farmers had no chance to sell their corn at competitive prices. Hundreds of thousands of Mexican campesinos stopped growing corn, can no longer maintain their farms, and have lost their land and livelihoods. Today Mexico imports more corn from the U.S. than it grows; the corn tortilla in Mexico is more likely made of cheap GMO corn from the U.S. than from a Mexican farmer. To think, the Aztecs used to worship “the Lord of Maize.” As Mexico’s corn economy continues to collapse, the country’s farmers and agricultural laborers migrate to the U.S. in search of work.

Despite promises from President Clinton that “NAFTA means jobs, American jobs, and good-paying jobs,” the results of NAFTA have been the deindustrialization of the U.S. and the exportation of hundreds of thousands of U.S. jobs to the Maquiladora “Free Trade Zone” of Mexico. Mexican workers labor in those U.S. owned plants for as little as $50 for a 60-hour work week. Largely composed of women, the work force suffers from severe exploitation, miserable working conditions, a total lack of union representation, grinding poverty, and environmental hazards. U.S. and Mexican elites have made off like bandits, while workers on both sides of the border have suffered nothing but losses.

The “Drug War” fought in Mexico since 2006 has taken the lives of 57,449 Mexicans as reported in late 2012 by the Monterrey de Milenio newspaper. Let us put that statistic in context. U.S. soldiers fought in Vietnam from 1955 to 1975, and during those twenty years 58,209 U.S. soldiers died in combat. In Aug. of 2012, the Mexican non-governmental citizens action group, Movement for Peace With Justice and Dignity, put the drug war death toll at 70,000 - so far. As the Mexican government supposedly combats groups like the Sinaloa and Los Zetas drug cartels, the well armed cartels battle each other for control of turf and profits. The war is exceedingly brutal, as this photo essay in The Atlantic attests. Mass killings, torture, and beheadings committed by cartel gunmen are routine; it is all done to feed the drug habits of North Americans.

Much has been made of arms purchased in U.S. gun stores ending up in the hands of Mexican drug gangs. But the weapons seized by Mexican authorities often include the same type of weapons the Pentagon supplies the Mexican military. The U.S. has provided $2 billion in military aid to Mexico’s police and armed forces since 2009. Leftover rocket-propelled grenades, mortars, and fully automatic AK47 rifles from Central America’s civil wars are also available on the black market. It should be apparent that corrupt members of the Mexican government, military, and police run a pipeline of arms to the cartels.

The Obama administration claims that it tried to smash cartel arms traffickers in 2009 with Operation Fast & Furious. Agents of the ATF allowed criminals working with the cartels to purchase guns in the U.S., then tracked the arms as they were brought into Mexico. It is alleged that the operation was to meant to identify and arrest the drug lords receiving the guns. However, the weapons were never traced to their end users, they disappeared into the cartel underground; no cartel boss was ever arrested as a result of the “sting.” The operation started to unravel when U.S. Border Patrol agent Brian Terry was killed in 2010 near the Arizona-Mexico border by gunmen using two AK47 rifles traced to Fast & Furious. Since then hundreds of Mexican civilians have been killed by guns traced to the operation. Of the over 2,000 guns Fast & Furious brought into Mexico, 710 have been found at crime scenes or otherwise “recovered,” the rest remain in the hands of the cartels.

"PRInocho: Peña No Cumple" (Peña Fails) - Opposition poster against President Nieto. "Pinocho" is Spanish for "Pinocchio", so PRInocho is a play on words that equates Nieto with the marionette whose nose grew longer when telling a lie, and identifies Nieto as a string-puppet of the PRI.

"PRInocho: Peña No Cumple" (Peña Fails) - This poster against President Nieto is not part of the New World Border exhibit. "Pinocho" is Spanish for "Pinocchio", so PRInocho is a play on words that equates Nieto with the marionette whose nose grew longer when telling a lie. The poster also identifies Nieto as a string-puppet of the PRI.

Then there is Mexico’s rigged general election of July 1, 2012. The contest was between Enrique Peña Nieto of the PRI, and Andrés Manuel López Obrador of the “left” social democratic Party of the Democratic Revolution (PRD).

Massive vote rigging swept Nieto and the PRI into power; reports of fraud, vote buying and tampering with ballots were rife. The AP reported that the PRI distributed untold thousands of pre-paid “gift cards” in poor neighborhoods in exchange for votes.

The Sydney Morning Herald of Australia quoted Eduardo Huchim of the Civic Alliance, which is funded by the United Nations Development Program; ”It was neither a clean nor fair election, it was perhaps the biggest operation of vote-buying and coercion in the county’s history.”

Latinos Post quoted an electrician and trade unionist, Heliodoro Maciel; “Yes, the PRI has experience. They know how to steal. They know how to make pacts with drug cartels. And they know how to kill.”

President Obama telephoned Enrique Peña Nieto in the aftermath of the sham election to congratulate Nieto for winning a “free, fair, and clear” election. Nieto’s reign will not be any different than that of his crooked PRI predecessors; historically the PRI has been the party of oligarchy, repression, and naked reaction.

In 1938 left-leaning President Lázaro Cárdenas nationalized Mexico’s oil at a time when U.S. and British oil companies completely dominated Mexico’s oilfields, taking the lion’s share of the profits. Cárdenas’ nationalization of the country’s oil has long been a wellspring of national pride for Mexicans. But Nieto wants to privatize sectors of Mexico’s Petroleos Mexicanos (Pemex), the state-owned oil company. El Presidente wants the nation’s oil resources sold to the highest bidding foreign oil companies - which is the real reason he received a heartfelt “congrats” from Mr. Obama.

On Sept. 8, 2013, over 40,000 people gathered in Mexico’s capital beneath a gigantic banner that read, “No To The Robbery Of All Time,” in opposition to Nieto’s privatizing the oil industry. Just 3 days before Mexico’s Independence Day (celebrated each Sept. 16th), President Nieto ordered 3,000 riot police to forcibly remove tens of thousands of striking Mexican teachers who were protesting in the capital’s central plaza. Prior to seeing Nieto shout “¡Viva México!” from the balcony of the National Palace in the annual commemoration of the revolution against the Spanish Empire, the nation got to witness riot cops tear-gassing, and bludgeoning teachers.

Stories more revealing of Mexico’s excrescent ruling elite could not be told.

The New World Border exhibit has been shown at venues from Arizona, New Mexico, and Utah, to exhibit spaces in New York, New Jersey, Pennsylvania, and Missouri. At the end of 2012 an entire suite of prints from the show was acquired by the U.S. Library of Congress for that body’s impressive permanent collection. In mid-October 2013, a PowerPoint display of New World Border prints was presented at the Borders, Walls and Security international conference held at the University of Quebec at Montreal, Quebec, Canada, bringing the exhibit to three countries.

New World Border is also scheduled to be shown from November 2013 to March 2014 at the main library of City College of San Francisco in San Francisco, California. In addition, a full set of New World Border posters will be donated to the collection of Cal State University at Sacramento, California, were a future exhibition of the prints is currently being scheduled.

Protest at the Detroit Institute of Arts

"Show Me The Monet" -  This photo shows protestors at the Defend the DIA demonstration of Oct. 4, 2013. Photo by Tanya Moutzalias for MLive.com.

"Show Me The Monet" - This photo shows protestors at the Defend the DIA demonstration of Oct. 4, 2013. Photo by Tanya Moutzalias for MLive.com.

History was made on October 4, 2013, when hundreds of people gathered on the steps of the Detroit Institute of Arts (DIA) in Detroit, Michigan for a demonstration against city plans to sell the museum’s world-class art collection. The city has paid Christie’s auction house $200,000 to appraise the DIA’s holdings. The process is now underway to prepare for a massive auctioning off of the museum’s cultural treasures in order to pay down Detroit’s multi-billion dollar debt. The city’s appointed but unelected “Emergency Manager,” Kevin Orr, has repeatedly made clear that the option of selling the DIA’s collection is “on the table.”

A sizeable flying picket line of protestors gathered in front of the museum; they walked behind a large banner that read “Defend The DIA!” and carried homemade signs that read, “Don’t show me the money - Show Me The Monet,” “Gogh Away from the DIA,” and “Preserve the Picasso - Defend the Dali - Maintain the Michelangelo.”

Perhaps the most poignant handmade sign that I spotted was carried by a young woman, it read, “Hearts Starve as well as bodies, We Want Bread and Roses!” The sign was a direct reference to the Great Lawrence Textile Strike of 1912 carried out by mostly female immigrant workers in Lawrence, Massachusetts. Also known as the “Bread & Roses Strike,” the workers took their slogan from American poet, James Oppenheim, who had written the pro-labor poem Bread and Roses just a year earlier: “Yes, it is bread we fight for - but we fight for roses, too!” Oppenheim’s poem denoted that the fight for pragmatic necessities like jobs and decent housing is crucial, but the quest for beauty and the spiritually sublime is also essential to our wellbeing.

As more than a dozen drummers gathered at curbside and people chanted slogans like “Hey, hey corporate vultures, keep your hands off our culture!”, and “The working class is here to fight, culture is a social right!”, Auguste Rodin’s 1904 bronze sculpture The Thinker seemed to survey the lively scene from its granite base located on the steps of the DIA. Even the words chiseled into the stone facade of the museum contributed to the spirit of the day: “Dedicated by the People of Detroit to the Knowledge and Enjoyment of Art.” Video of the protest anonymously uploaded to Youtube shows the type of glorious activism in defense of art that I have advocated for years. I hope to see much more of this type of joyous but combative creative action in the months and years to come. It is long overdue in the United States.

"The Orator, Madison Square" - Martin Lewis. Etching. 1916. Collection of the DIA.

"The Orator, Madison Square" - Martin Lewis. Etching. 1916. Collection of the DIA.

I first wrote about the crisis at the DIA in a March 2009 post titled, Zombie Banks, Art Museums, & War. That was followed up by a June 2009 post titled, The Death of Motor City. As the economic collapse in Detroit escalated and the city threatened to auction the DIA’s holdings to pay down city debts, I wrote two major articles, Killing the Detroit Institute of Arts, and Defend the Detroit Institute of Arts.

Needless to say, I am heartened that the people of Detroit took to the streets on Oct. 4th to stand up for the DIA; I was there in spirit.

The protest to save the DIA was organized by the Socialist Equality Party (SEP) and its youth wing, the International Youth and Students for Social Equality. Largely coordinated and promoted on the SEP’s World Socialist Web Site, the party has closely followed the crisis at the DIA and has published innumerable insightful and informative articles on the matter; they have certainly dedicated more column inches to the subject than an other publication or organization that I can think of. The SEP has set up a dedicated website, DEFENDTHEDIA, from which they hope to maintain and enlarge their campaign.

As of this writing the protest has only been covered by a few Detroit media outlets: ABC Detroit, The Detroit News, MLive Detroit, Examiner.com, and CBS Detroit. It is telling that the “paper of record,” the New York Times, could not be bothered to report on the demonstration, despite the national and international implications of the story. Likewise, major dailies like the Los Angeles Times and the Washington Post have also ignored the protest. Notably but not surprisingly, the so-called art press did just as poorly, due no doubt to its general political apathy and postmodern detachment.

It was the alleged “left” press in the U.S. that possibly made the worst showing of all, which only fuels my general disdain for what now passes as a political left in the United States. During the course of this year self-styled “progressive” websites like The Nation, Mother Jones, Common Dreams, and The Progressive have not written a single solitary word concerning the possible destruction of the DIA and what this will mean for the American cultural landscape! Democracy Now, the vaunted flagship news and views show of the “progressive - liberal” Pacifica Radio network has remained completely silent regarding the Detroit Institute of Arts. Over the years these social democratic types have been droning on about what a threat the U.S. rightwing presents to the arts; it is an accusation that only serves to mask their own philistinism.

 "The Arc Welders at Night" - Martin Lewis. Drypoint etching. 1937. Collection of the DIA.

"The Arc Welders at Night" - Martin Lewis. Drypoint etching. 1937. Collection of the DIA.

The general indifference concerning cultural and artistic matters displayed by the contemporary U.S. “left” make the efforts of the Socialist Equality Party all the more remarkable.

Critics may say the SEP is only attempting to recruit members, but organizing a defense of art and culture is not exactly the way to further an organization’s growth; art is not a “meat and potatoes” issue for most people.

The SEP has gone out on a limb to make the DIA, and broader cultural issues, a focus of their work: if only such a commendable stance was taken up by others - especially, from my perspective, by those professionals working in the arts.

But I am not making an argument meant to promote or otherwise advance the SEP, which is more than capable of doing so on its own. I have never joined nor endorsed any political party; you know, “artistic temperament” and all. I really enjoy being a contrarian and a totally independent artist, but I do admire the SEP for taking up the banner of the DIA and bringing some clarity, passion, and necessary visionary action to the fore.

Mary Harris “Mother” Jones (1837-1930), the American labor agitator and cofounder of the Industrial Workers of the World, once said: “If I can’t sing and dance in your revolution then I want nothing to do with it.” The faux “radicals” and art world hipsters that think the struggle to save the DIA is beneath them and a waste of time, should deeply contemplate the meaning of Jones’ famous quote. As for myself, I will continue to cover events in Detroit and beyond, and I shall carry on the “fight for roses, too.”

Free Poster: I AM NOT THE ENEMY

"I AM NOT THE ENEMY"- Mark Vallen 2001 © 11" x 17" inch poster.

"I AM NOT THE ENEMY"- Mark Vallen 2001 © 11" x 17" poster.

In the immediate aftermath of the terror attacks of September 11, 2001, I created a street poster widely distributed in Los Angeles titled, I Am Not The Enemy.

The poster was derived from an original pencil drawing of mine created in part as a reaction to the murder of a Sikh American man in Arizona, Balbir Singh Sodhi; the killing would be the first post-9/11 violent attack against an innocent civilian on U.S. soil thought to be “the enemy.”

Mr. Sodhi owned a gas station in Mesa, Arizona, and he was shot while arranging U.S. flags in front of his business. When arrested, his killer yelled, “I am a patriot!” and “I stand for America all the way!”

Mr. Sodhi’s murder was in the context of innocent Muslim Americans being blamed, abused, and assaulted all across the U.S. in revenge for 9/11.

When people are denied the right to worship freely, or are otherwise persecuted because of their faith, democracy is threatened. This principle is enshrined in the First Amendment of the U.S. Constitution’s Bill of Rights.

Given the recent upsurge of racist attacks in the U.S. aimed at those perceived to be Muslims, I have decided to re-release my poster, making it available for free as a downloadable .PDF file that can be printed on any ink jet printer.

The black & white poster measures 11 x 17 inches, and it should be used in the spirit in which it was created, not for profit, but as a simple expression of human decency and solidarity. Further reasons for offering my poster as a free download are to be found in the remainder of this article.

On September 21, 2013, Dr. Prabhjot Singh, a professor from Columbia University, was strolling in New York’s Harlem district near the corner of 110th and Malcolm X Boulevard. He was confronted by a crowd of some 20 young men on bicycles, who yelled anti-Muslim slurs at him, shouting “Get Osama,” and “Terrorist” before launching a vicious physical attack. The gang pulled Singh’s beard, and repeatedly punched and kicked his head and body. Singh might have been killed had it not been for the three good Samaritans that came to his aid to help fight off the hoodlums. The professor’s jaw was broken, and he suffered an injury to his lip, multiple fractures, the loss of several teeth, and a puncture wound to his elbow.

Mainstream press reports mentioned that Singh is an adherent of the Sikh faith, and that his attackers had “misidentified” or “mistaken” him as a Muslim because of his beard and turban, as if the beating would have been acceptable had Singh actually been a Muslim. The press has variously described Singh’s attackers as “a group of young men,” “a mob,” or simply “assailants.” However, when pressed by a reporter in an interview on the Huffington Post, Singh reluctantly said of his tormentors, “it was dark, but it seemed like it was young African American men.” The Village Voice and BuzzFeed.com also reported that the attackers were African American. On Sept. 24, 2013 the NYPD released security video of the suspects leaving the scene of the crime, and asked for the public’s assistance in identifying those who took part in attacking Dr. Singh.

It is a great tragedy of history that on Malcolm X Boulevard, young blacks would assault a man they thought to be a Muslim; one of the most outspoken opponents of racial oppression in the U.S. during the late 1950s and early 1960s, Malcolm X was a Muslim. In 1964 he embraced Sunni Islam and traveled to Mecca to participate in the Islamic pilgrimage known as the Hajj. That experience led him to take the name El-Hajj Malik El-Shabazz. That same year he founded the political group, the Organization of Afro-American Unity (OAAU), which organized against the racism, colonialism, and imperialism of a capitalist “international power structure.”

Malcolm’s ideas were perhaps best articulated in his By Any Means Necessary speech given at Detroit’s Ford Auditorium on Feb. 14, 1965. The oratory contained the famous words: “We declare our right on this earth to be a man, to be a human being, to be respected as a human being, to be given the rights of a human being in this society, on this earth, in this day, which we intend to bring into existence - by any means necessary.” A week later Malcolm was assassinated at the Audubon Ballroom north of Harlem in New York on Feb. 21, 1965. Acknowledging his stature in the Black community, Lenox Avenue was renamed Malcolm X Boulevard by New York’s mayor in 1987.

While the involvement of young blacks in the attack against Singh underscores the tragic political and moral disorientation of a certain layer of black youth, the appalling incident points to a much larger problem in American society as a whole. Despite our being awash in information and early 21st century technology, the U.S. is not far removed from xenophobic hysteria and blind racism. These malevolent forces find expression amongst the disempowered and uneducated, which at the moment pretty much describes us all. When the economy is in the tank and the nation is at war - and yes dear shopper, the nation is at war - you can count on the flames of tribalism being fanned.

Those that attacked Dr. Singh did so out of distorted notions of patriotism, but where do these ideas emanate from? Twelve years after the 9/11 terror attacks on the World Trade Center, American society still produces individuals who ignorantly lash out at the innocent for the heinous crimes committed by others. Here, the words of Malcolm X come thundering in: “You’re not supposed to be so blind with patriotism that you can’t face reality. Wrong is wrong, no matter who says it.”

Dr. Singh, an assistant professor at Columbia’s School of International and Public Affairs and a practicing physician that specializes in community-based health care in East Harlem, told BuzzFeed.com: “This is my community, I live in Harlem, I see patients here, It’s not the side of Harlem I’ve come to know and not how I’ve been embraced.” In a press conference held after his release from the hospital, Dr. Singh said: “If I could speak to my attackers, I would ask them if they had any questions, if they knew what they were doing. Maybe invite them to the Gurudwara (Sikh temple) where we worship, get to know who we are, make sure they have an opportunity to move past this as well.”

But Dr. Prabhjot Singh’s ordeal was not an isolated incident. This past January, Mississippi Police accused a Sikh truck driver of being a “terrorist” for not complying with an order to remove his sacred Kirpan talisman; Sikhism requires male devotees to wear a Kirpan and a turban. When appearing in court Jagjeet Singh (all Sikh men carry the last name of Singh, which means Lion) was told by a County Judge that he would have to remove “that rag” from his head or leave the courtroom. Singh eventually pleaded guilty to the charge of “refusing to obey a command” and had to pay a fine. This is not an example of the American “Religious Tolerance” that U.S. citizens take so much pride in, but an instance of xenophobia and ignorance displayed by the state.

Singh and others of his faith have every reason to expect acceptance in the “Land of the Free,” Sikhs first came from India to the U.S. over 130 years ago. Because of the oppressive colonial practices of the British in India, thousands of Sikhs emigrated to the U.S., with most coming to California to labor as agricultural workers. The oldest Sikh temple in the U.S. was built in Stockton, California in 1912; Sikhs have been contributing to the American family ever since.

I have never been a fan of the Miss America contest, since I oppose the sexual objectification of women, but I must bring up the competition in the context of racial bigotry and the attack on Dr. Singh. On Sept. 15, 2013, Nina Davuluri won the Miss America crown at the pageant held in Atlantic City, New Jersey. Born in Syracuse, New York to parents who came from the Republic of India in South Asia, the 24-year-old Davuluri was beset with a torrent of xenophobic comments on social media immediately after her win. Online comments against Ms. Davuluri included the likes of: “Miss Arab wins Miss America,” “9/11 was 4 days ago and she gets Miss America,” “Miss America is a terrorist,” “Congratulations Al-Qaeda, our Miss America is one of you,” and “How the f**k does a foreigner win Miss America?” That Davuluri is an American citizen means nothing to such people.

U.S. history is replete with “nativist” individuals and organizations that favored “true Americans” over immigrants, and sadly, nativism continues to run through the fabric of American society. In the early 1800’s Irish immigrants in the U.S. were considered to be uneducated brutes, lazy, criminally minded, and hopeless alcoholics; the Irish were systematically denied employment and forced to live in slums and were in fact referred to as “white negroes” by those who detested them. Likewise, Italian immigrants in the U.S. also occupied the unenviable position bestowed upon the Irish. The largest mass lynching in U.S. history took place in New Orleans, Louisiana in 1891 when thousands of upright citizens broke into a prison to seize 9 Italian men just found not guilty in the murder of the city’s Police Chief. The Italians were beaten and shot, and dragged into the streets where they were lynched. Two additional Italians imprisoned on unrelated charges were taken from the prison and hanged for good measure.

After Imperial Japan attacked Pearl Harbor in 1941, Japanese Americans suffered through a wave of humiliating and violent racist hysteria that culminated in all people of Japanese ancestry on the West coast of the U.S. being rounded up by presidential order and forcibly shipped to isolated concentration camps. These U.S. citizens were stripped of their possessions, homes, and businesses simply because of their skin color.

On Sept. 9, 2010, the Japanese American Citizens League (JACL), the Nikkei for Civil Rights & Redress (NCRR), and the Japanese American National Museum of Los Angeles conducted a candlelight vigil against the scapegoating of Muslim Americans. I participated in that vigil of some 200 souls on the steps of the museum, and I was honored that copies of my poster, I Am Not The Enemy, were unreservedly and fervently utilized as statements against racist bigotry, religious intolerance, and national chauvinism. I hope that my current offering will be used in the same manner.