I AM NOT THE ENEMY

I Am Not The Enemy - Poster by Mark Vallen ©

Poster by Mark Vallen ©

I Am Not The Enemy
Free downloadable, 11 x 17 poster.

Download and publish the poster on any printer that takes 11 x 17 inch paper. Poster available here.

Print and display this poster for solidarity, unity, and compassion, and to express your opposition to xenophobia, and racism.

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I first published this poster in the weeks following the heinous terrorist attacks of September 11, 2001, when thousands of hate crimes directed at Muslim Americans, or those thought to be Arabs, were occurring across the United States. Some of those attacks resulted in murder.

It was the case of Balbir Singh Sodhi that drove me to create my pencil on paper drawing, which I then published as a poster against hate crimes. Mr. Sodhi, a turban-wearing Sikh and proprietor of a gas station in Mesa, Arizona, was gunned down by a “patriot” that hours before, had bragged in a bar about wanting to “kill the ragheads responsible for September 11.” That murderer now sits on death row, but the racist xenophobia that motivated him is alive and growing in the United States, where anti-Muslim hatred and incitement has reached a boiling point.

On the afternoon of February 10, 2015, three young Muslims, twenty-three-year-old Deah Shaddy Barakat, his twenty-one-year-old wife Yusor Mohammad Abu-Salha, and her 19-year-old sister Razan Mohammad Abu-Salha, were found murdered in their home in Chapel Hill, North Carolina. A 46-year old white man was arrested as the suspected killer.

Deah Shaddy Barakat and Yusor Mohammad Abu-Salha had been married for just a month. Deah was a dental student that organized free dental care for the homeless of Durham, North Carolina. He was also raising money to provide free dental care to refugee children in Turkey fleeing the devastating war in Syria. His wife Yusor was a talented artist and videographer. Her sister Razan did fundraising for a charity group that helped deaf Muslims.

It took days for the U.S. press to notice the killings while the twitterverse exploded with horror and outrage, lambasting the media for its almost non-existent coverage of the murders. Downplaying the possibility of a hate crime, the press has been reporting that the shooter might have killed the three over an argument concerning a parking space. But the unarmed students were found in their apartment, each with a bullet hole neatly placed in their heads. That was not an argument over parking… that was an assassination. I am deeply concerned that the media hems and haws over whether or not the killer was angry over a parking space or was actually motivated by a hatred of Muslims. I cannot image the horror and alarm Muslim Americans must feel at this moment.

The murder of the three young Muslims has become an international incident. United Nations spokesperson Stéphane Dujarric said: “At a time of troubling tensions stoked by those who seek to twist the teachings of faith and sow division, these three young people represented the best values of global citizenship and active community compassion to build a better world for all.”

On Feb. 11, 2015, at a daily briefing with the White House Press Secretary Josh Earnest, a reporter asked a question regarding the killing of the students, “Does the White House have any reaction?,” to which Earnest responded, “There’s no specific reaction from the White House.

On Feb. 12, 2015, U.S. ally President Recep Tayyip Erdogan of Turkey, sharply criticized President Obama for his “telling” silence over the murders. Erdogan remarked: “If you stay silent when faced with an incident like this, and don’t make a statement, the world will stay silent towards you. As politicians, we are responsible for everything that happens in our countries and we have to show our positions.” Erdogan chided, “I ask Mr. Obama, where are you, Mr. President?”

After mounting criticism, Obama finally made a short statement on Feb. 13, 2015. The president said the killings were “brutal and outrageous,” and that “No one in the United States of America should ever be targeted because of who they are, what they look like, or how they worship.” That those words sound refreshing in “the land of the free” should tell you just how deep the crisis of American democracy has become.

While Obama’s words were certainly true, they also smacked of hypocrisy. The president targets people outside of the U.S. for “what they look like, or how they worship.” In five years of his drone attacks on Pakistan, 2,400 people have been blown-up by drone fired hellfire missles. While the majority of fatalities were suffered by terrorists, an estimated 951 innocent civilians were also killed, including up to 200 children. You might say that the victims of the Nobel Peace Prize Laureate were simply “collatoral damage,” but I suggest you take that up with their parents.

I do not know what more I can say. I will let my 2001 poster do the talking for me.

LACMA, BP & the Oil Workers Strike

Workers picket BP refinery in Indiana, Feb. 10, 2015. Photo Scott Olson/Getty Images.

Workers picket BP refinery in Indiana, Feb. 10, 2015. Photo Scott Olson/Getty Images.

On February 1, 2015, 4,000 workers belonging to the United Steelworkers Union (USW), walked off their jobs at nine oil refinery and chemical plants across the U.S. By Feb. 10 another 1,400 workers went on strike at two refineries in Indiana and Ohio. The strike now effects 11 oil refinery and chemical plants used by BP, Shell, ExxonMobil, Marathon Petroleum, and Lyondell Basell, including those in California, Kentucky, Texas, and Washington. The USW represents 30,000 workers that run more than 200 refineries, terminals, and pipelines. The number of workers on strike and on the picket line is over 5,000… so far.

Workers on the picket line at BP refinery in Indiana. Photo courtesy of The Times of Northwest Indiana.

Which side are you on? Workers on the picket line at the BP refinery in Indiana. Photo/The Times of Northwest Indiana.

The workers are striking because of unsafe and dangerous working conditions. Their grievances include a stop to “daily occurrences of fires, leaks, emissions, and explosions, brutal and dangerous scheduling practices,” as well as layoffs, speed-ups, and the hiring of inexperienced non-union labor.

The strike kicked-off when talks collapsed with Shell Oil, which is leading the industry-wide negotiations. BP and the other oil companies are now hiring scab labor to keep their operations going.

The work stoppage is the largest nationwide strike in the U.S. since 1980. Addressing the public and fellow workers both unionized and non-unionized, the strikers made it clear that “138 workers were killed on the job while extracting, producing, or supporting oil and gas in 2012,” a number “more than double” the fatalities suffered in 2009. The workers charge BP and the other oil giants with cutting back on safety protocols and intensifying layoffs and speed-ups to keep profits high. Here it should be remembered that 11 workers were killed when BP’s Deepwater Horizon oil rig exploded and sank into the Gulf of Mexico on April 20, 2010.

But what does any of this have to do with the Los Angeles Country Museum of Art (LACMA)?

I have been writing in opposition to oil giant BP funding LACMA since the oily relationship was publicly announced in June of 2007. I wrote the following in a June 2010 blog post. It is a fair summation of my stance regarding LACMA director and CEO Michael Govan enthusiastically accepting money from BP; which he said was committed “to sustainable energy.”

“In 2007 Mr. Govan accepted $25 million from the oil company and in return the museum built the so-called ‘BP Grand Entrance’ on the LACMA campus. Every time an artist or arts group presents works beneath the BP Grand Entrance, it lends authority, respectability, and quiet approval to the machinations of one of the world’s biggest polluters; even if that presentation is of a ‘challenging’ nature – it nonetheless enables BP to present itself as a generous and ’socially responsible’ supporter of the arts. As one must pass through the BP Grand Entrance in order to enter the LACMA museum complex, BP has succeeded in placing its imprimatur upon every LACMA exhibit, not to mention its entire collection.”

I always viewed LACMA’s relationship with BP as an ethical dilemma for the arts community, from BP shaping an arts institution to LACMA being a partner in the oil giant’s “greenwashing” propaganda. However, the nationwide workers’ strike against BP adds a new wrinkle to the entanglement - revealing once more the difficult interface between art and capitalism.

Workers picket BP refinery in Indiana, Feb. 2, 2015. Photo courtesy of the USW.

Workers picket BP refinery in Indiana, Feb. 2, 2015. Photo courtesy of the USW.

If thousands of workers are on strike against BP because of deplorable working conditions that are literally taking workers’ lives, and BP is a major contributor to LACMA… what then does that make the museum? Is it really an impartial institution? Does it actually need to be said which side LACMA is on - with the workers, their families and friends - or with BP? Can Michael Govan and LACMA really tell the public that the museum has nothing to do with politics or the strike, when LACMA takes BP’s money and museum visitors have to walk through the “BP Grand Entrance” to enter the museum?

And what happens if the workers’ national strike against BP and the other giant oil companies grows larger, drawing in the 30,000 workers of the United Steelworkers Union and affecting the 200 U.S. sites they work at? The union represents the workers that run nearly two-thirds of the oil refining plants in the U.S.

The largest nationwide strike in the U.S. since 1980. Photo courtesy of the USW.

The largest nationwide strike in the U.S. since 1980. Photo/USW.

In the glorious labor history of the United States, a movement that gave us the eight-hour day, higher wages, better working conditions, paid vacations, and other benefits… when workers called a strike, other workers and the general population supported it.

That is how the working class in America advanced, not through the largess and goodwill of a super-rich minority, but by workers making demands on them and uniting in the cause to create a better life for the majority.

The Los Angeles County Museum of Art makes use of union labor, as well as non-union labor, together with what is euphemistically referred to as “volunteer” labor. Some 350 people are employed at LACMA, but there are also security, janitorial, maintenance technicians, and other contracted laborers that work at LACMA. In June of 2012, LACMA workers were fired as the museum looked for ways to “best deploy resources,” all the while spending $10 dollars on the “Levitated Mass” project and paying director Govan an annual salary of $915,000 - twice the amount of a sitting U.S. president! What if workers at LACMA decided to walk off their jobs in solidarity with the striking workers who wage a life and death struggle with BP?

It has all happened before, you know.

El Retrato de Linda Christian

"El Retrato de Linda Christian" (Portrait of Linda Christian) - Diego Rivera, oil on canvas, 1947. 44 x 35 5/8 in.

"El Retrato de Linda Christian" (Portrait of Linda Christian) - Diego Rivera, oil on canvas, 1947. 44 x 35 5/8 in.

El Retrato de Linda Christian (Portrait of Linda Christian) has until recently been an oil painting by Diego Rivera that was virtually unknown to the general public, especially outside of Mexico.

On Nov. 20, 2012, the painting was exhibited for the first time at Christie’s auction house in New York City. But who was Linda Christian, and how did Rivera come to paint her portrait? Let me begin with a few biographical details on Christian.

In 1923 Blanca Rosa Welter was born in Tampico, a port city in the state of Tamaulipas, Mexico. As fate would have it, just after she graduated from high school she met the Australian-American actor Errol Flynn, who was filming in Acapulco. Flynn became the young woman’s lover and persuaded her to come to Hollywood to pursue an acting career. Not long after her arrival in Tinsel Town, Louis B. Mayer’s MGM studio gave her a seven-year contract.

Mr. Flynn suggested a stage name for her; in 1933 he had played the character of Fletcher Christian in an Australian cinematic version of Mutiny on the Bounty, so Señorita Blanca Rosa Welter became Linda Christian. Thus began Blanca’s wild Gringolandia adventures.

Linda Christian made her U.S. film debut in the 1944 musical comedy Up in Arms, starring Danny Kaye and Dinah Shore. She played minor, decorative roles in other films, like the 1947 Green Dolphin Street starring Lana Turner, where she played a maid to Turner’s character. In 1947 Christian took a starring role in the film Tarzan and the Mermaids, the last of 12 Tarzan movies starring Johnny Weissmuller. The film was shot in Acapulco, and it was during this time that Rivera met the young star and painted her portrait.

"Portrait of Linda Christian" (Detail) Diego Rivera, 1947.

"Portrait of Linda Christian" (Detail) Diego Rivera, 1947.

Lana Turner was romantically involved with the popular American actor Tyrone Power, who as fate would have it, met and had his heart stolen by Linda Christian instead while visiting Rome in 1948.  Power, the 35-year old “handsome leading man,” married the lovely 26-year old starlet Linda Christian in a church in Rome, Italy on Jan. 27, 1949; the ceremony was attended by some 10,000 adoring fans. The press called it the “marriage of the century.”

"Portrait of Linda Christian" (Detail) Diego Rivera, 1947.

"Portrait of Linda Christian" (Detail) Diego Rivera, 1947.

Christian’s last claim to acting fame was her role as the very first “Bond Girl,” appearing as “Valerie Mathis” in a 1954 TV adaptation of Ian Fleming’s James Bond story Casino Royale. Eight years later Swiss actress Ursula Andress was inaccurately proclaimed to be the first Bond Girl for her role as “Honey Ryder” in Dr. No (starring Sean Connery). In 1959 the Celebrity Register summed up Christian’s acting career with the following: “With a sixth sense for publicity, she parlayed a small talent for acting into an international reputation as a femme fatale.”

"Portrait of Linda Christian" (Detail) Diego Rivera, 1947.

"Portrait of Linda Christian" (Detail) Diego Rivera, 1947.

In ‘47 Rivera painted the young actress as a nude figure, but Christian’s mother objected, insisting that the artist cover up her daughter’s bare breasts. A compromise was reached when Rivera painted a delicate but highly transparent lace blouse on the young woman’s torso. Honestly, I cannot imagine the alteration satisfying the mother one bit; it only heightened the eroticism of the portrait.

Talking heads and so-called art world “experts” have commented that Rivera’s use of the “kissing” hummingbirds was a sexual metaphor.  The depiction of the birds supposedly “exploring the internal cavities of flowers,” is said to be a subtle sexual reference.

"Portrait of Linda Christian" (Detail) Diego Rivera, 1947.

"Portrait of Linda Christian" (Detail) Diego Rivera, 1947.

As an avid bird watcher I would like to point out that the pair of Ruby-Throated Hummingbirds shown are both males, and that they are not probing the internal cavities of flowers, but rather are displaying the typical male fighting posture of the aggressive and supremely territorial hummingbird.

There is another aspect to Rivera’s hummingbirds that escapes non-Mexican viewers of the painting. Rivera’s love of indigenous Mexico is well known, and he inserted pre-Columbian symbols and legends into his works at every opportunity. One of two supreme deities worshipped by the Aztecs was the war god named Huitzilopochtli (in English, Hummingbird on the left). If you have ever seen male hummingbirds ferociously clashing to protect their territory, you will understand why the Aztecs adopted the diminutive bird as the emblem for their war god.

In the Aztec pantheon of gods, Huitzilopochtli was represented by the image of a hummingbird. The Aztecs made no stone, clay, or wood artifacts of the god, making 3D ritual objects of him only from corn, amaranth, and seed paste. However, hummingbird representations of the deity survived the ages in Aztec mosaics, paintings, and murals. The Aztecs believed the soul of a warrior who died honorably in battle would be reborn as a hummingbird to enjoy eternal bliss. You could say that the birds in Rivera’s painting are two such souls in paradise, or that they were fighting over the enchantress, or both.

"Portrait of Linda Christian" (Detail) Diego Rivera, 1947.

"Portrait of Linda Christian" (Detail) Diego Rivera, 1947.

Ms. Christian commissioned the painting from Rivera, and thus was the original owner of the portrait. It was never exhibited to the public and only seen outside of Christian’s home when she reproduced it as the cover art for her 1962 autobiography, Linda, my own story.

I do not know how or why, but the painting eventually became the property of Baron Enrico di Portanova, a rich playboy jet-setter that attained his vast fortune through an oil inheritance. Portanova maintained an enormous villa in Acapulco he named Arabesque, the château had 28 bedrooms, 4 swimming pools, indoor waterfalls, a nightclub, and more, including a guard tower with machine-gun toting thugs.

At Arabesque the Baron regaled his coterie of celebrity stars, moneybags, and assorted politicians with endless galas and banquets… even fêting the ignoble Henry Kissinger with Champagne and caviar.  It is distressing to imagine that El retrato de Linda Christian might have watched such dirty dealings from a prominent wall in the lavish mansion. Oh pobrecito Diego, this is why Siqueiros berated easel painting!

 "El Retrato de Linda Christian" (Portrait of Linda Christian) - Diego Rivera, 1947.

"El Retrato de Linda Christian" (Portrait of Linda Christian) - Diego Rivera, 1947.

The Baron died of cancer in March 2000 at the age of 66. Linda Christian died from cancer on July 2011 at the age of 87.

In November 2012 the di Portanova estate put Portrait of Linda Christian up for sale at Christie’s, where it was briefly exhibited at the auction house’s showing of Latin American art before it went under the gavel. The painting sold to an unidentified Mexican buyer for $578,500. If there was any justice in the world, that buyer would loan or donate the painting to the new Casa de los Vientos Diego Rivera cultural center planned for Acapulco, Mexico, where it could be adored by the viewing public forevermore.

As it stands, the painting has once again disappeared from public view, slipping back into obscurity as an expensive trophy in a private collection. Oh pobrecito Diego. ¡Oh pobres de nosotros!

L.A. Mexican Consulate: Jan. 2015

Protest in front of the Los Angeles Mexican Consulate-General, Jan. 2015 - Photograph Mark Vallen 2015 ©

Protest at the Los Angeles Mexican Consulate-General, Jan. 2015. Photograph Mark Vallen 2015 ©

In Mexico and around the world, January 6, 2015 became an international day of solidarity with the parents of the missing students from the Ayotzinapa rural teachers college in Iguala, Mexico.

Vigils and protests took place all across Mexico, as well as in 20 U.S. cities. On the evening of Tuesday Jan. 6, 2015, up to 70 protesters in Los Angeles, California gathered outside of the Mexican Consulate-General across the street from L.A.’s historic MacArthur Park. My poster, Ayotzinapa Somos Todos, played a small role in the significant demonstration. You can view an article and photo essay about the demonstration that I have uploaded on my PATREON website, where you can also become my patron and directly assist in making such poster projects possible.

Obama’s 2016 Arts Budget

Altered logo for the National Endowment for the Arts

Altered logo for the National Endowment for the Arts

President Obama has proposed a Fiscal Year 2016 budget approaching a record $3.99 trillion. It contains money for a $478 billion “public works” program for the construction of upgrades to U.S. transit systems, bridges, and highways, all financed by taxes on profits U.S. corporations have amassed overseas. It is nice that Mr. Obama is promising American workers the world, now that Republicans holding majorities in both the House and Senate of the U.S. Congress will undoubtedly block his faux “Rooseveltian” vision. Obama’s budget is a shell game designed to take advantage of the politically confused.

You see, the president could not offer a public works program earlier in his presidency when democrats had congressional majorities in the House and Senate, because he was too busy bailing out giant financial firms with hundreds of billions of taxpayer dollars. But I am supposed to be writing about Obama’s proposed FY 2016 arts budget.

Let me put it this way. Our Nobel Peace Prize Laureate president has put forward a “defense” budget for FY 2016 that will total $620.9 billion. His proposed budget for the National Endowment for the Arts (NEA), you know, the U.S. government agency that is “dedicated to supporting excellence in the arts” from sea to shining sea… is a mere $148 million. Here I must add that Clint Eastwood’s American Sniper has grossed, in just a three week period, $31.9 million dollars; the film is expected to generate $249 million in domestic sales.[1]

When announcing his FY 2016 budget, Obama said: “Will we accept an economy where only a few of us do spectacularly well? Or are we going to build an economy where everyone who works hard has a chance to get ahead?” The answer to that should be obvious; the financial aristocracy is grinning from ear to ear.

George W. Bush was certainly no friend of the NEA, but during 2009, the last year of his administration, he gave the NEA a $155 million dollar budget. What might shock the reader… or not, is that under the Obama administration the national arts budget has been consistently slashed since 2010. In that year Obama’s NEA budget was $161 million, in 2011 it was $154 million, in 2012 it dropped to $146 million, in 2013 it bottomed-out at $138 million. In 2014 it “rebounded” like a zombie from The Walking Dead by shambling back up to the shameful sum of $146 million, where it continued to limp and stumble throughout 2015. Now Mr. Obama has requested that the NEA and the National Endowment for the Humanities (NEH) should receive a $2 million dollar increase in 2016… which is still lower than George W. Bush’s 2009 funding of the NEA!

That is no mean trick for a senator that cajoled the U.S. arts community into electing him as president. Remember the hard sell from the 2008 presidential election campaign - Barack Obama and Joe Biden: Champions For Art and Culture? Remember the excited chattering amongst artists (save for this one), that Obama was the only candidate to have a platform in support of the arts? The better question is what happened to the voices of all those artists who worked so hard at promoting Mr. Hope and Change? They have all fallen silent, or changed the subject. Laughably, some have even managed to continue packaging themselves as “subversive” artists.

Robert L. Lynch, the CEO of Americans for the Arts, the nonprofit organization that lobbies for the advancement of the arts in the U.S., said the following about the president’s arts budget:

“The Administration’s FY 2016 budget request for the NEA is moving in the right direction with a $2 million increase. Congress will especially embrace the increased focus and expansion on the NEA’s grantmaking work with arts and the military, including the Healing Arts Partnership. However, this proposed funding level still does not meet the needs of the 95,000 nonprofit arts organizations and state and local arts agencies across the country nor does it reflect the value of the arts to help power our nation’s annual economic growth reflected in U.S. Bureau of Economic Analysis data showing the arts to be an annual $698.7 billion industry or 4.32 percent of the U.S. gross domestic product.”

Obama’s request to raise the 2016 NEA budget by a measly $2 million - still keeping the sum lower than it was in 2010 - should not enthrall arts professionals. It reminds me of the folk truism “they break our legs, and we say thank you when they offer us crutches,” so beautifully encapsulated by the U.K. punk band Chumbawamba in their 1987 song, Here’s The Rest of Your Life.

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Reference [1] ArtsBeat/New York Times

Twittering Like A Bird

Detail of hummingbirds from Diego Rivera’s remarkable 1947 oil painting, "Portrait of Linda Christian."

Detail of hummingbirds from Diego Rivera’s remarkable 1947 oil painting, "Portrait of Linda Christian."

I have an aversion to the Orwellian truncation and mangling of English words and their meanings. Last year Lake Superior State University came up their 40th annual list of words that should be banished for their mis-use or uselessness; words like swag, foodie, curate, and enhanced interrogation. I would like to add to that list the words twitter and tweet.

As a lover of the avian world and a keen bird watcher, I know that tweeting is something birds do. Nope, you can’t fool me.

Up until just recently, to say that  someone was “twittering like a bird” meant that they were inanely chattering about trivial matters. That does not sound like me, so I am certain many will be surprised that I have finally made the giant leap into the micro-blogging Twitterverse.

twitter.com/mark_vallen

Now, instead of long-winded rants and essays, I have to learn how to express myself with twitter-speak, 140 characters sprinkled with # and @ signs. Heavens above, Pablo Neruda sheds a tear!

Although Twitter has been in existence since 2006, I must admit to not appreciating its potential until just a while ago. Specifically it was the mass protests in Mexico over the missing 43 students from Ayotzinapa Normal School, and how Mexicans were using Twitter in response, that finally woke me up and won me over.

As is almost always the case when it comes to the truly important news of the day, I was completely frustrated by the near total lack of coverage the Ayotzinapa crisis in Mexico was receiving, not just from the mainstream media as I would expect, but also from the so-called “progressive/activist” news outlets as well.

Undaunted, I turned to Twitter, and saw how the students, activists, workers, and protesters of Mexico were using the micro-blogging platform to spread their drive for true democracy, exchange images and ideas, create dissident culture, coordinate actions, and so much more. Not only that, people around the world were joining them; I wanted to jump into the fray myself, and the only way I could do that was by creating my own Twitter account.

I look forward to using the platform to post announcements of artistic happenings, as well as news and links I find interesting as I research my writing projects; spreading the Art for a Change message to a larger international audience. I promise not to “twitter like a bird” over celebrity superstars and their lifestyles.

Whether you are already a Twitter user, or have been perched on the fence about joining - I invite you to connect with me on the Twittersphere. Please visit https://twitter.com/mark_vallen and click the “Follow” button to receive regular updates!

All is Forgotten - Todo está Olvidado

Todo está Olvidado (All is Forgotten) is a subversive cartoon one can properly call satirical. It is currently “trending” on the Mexican twitter-sphere, though I have been unable to ascertain just who created it, aside from its being signed by someone named “Alex.” The Mexican artist alluded to the January 14, 2015 “survivors issue” of Charlie Hebdo published in the aftermath of the terrorist attack on that publication’s Paris headquarters and the heinous murder of its staff.

The provocative cover of the Jan. 2015 survivors issue was drawn by Hebdo staffer Renald “Luz” Luzier, and featured a cartoon of the Prophet Muhammad; a single tear falls down his cheek while he holds a sign reading Je Suis Charlie (I am Charlie). The words Tout est Pardonné (All is Forgiven) float above his head.

The Mexican artist Alex mimicked the rough and ready style of the French Luz, but instead of sending a flaming arrow at the heart of Islam and all of its believers, Todo está Olvidado depicts a simple cartoonish Mexican worker, a tear of grief rolling down his cheek. He holds a sign that reads: I am Mexico. Totally standing the Hebdo cover on its head, the text floating over the sombreroed head of the worker reads, All is Forgotten - as in erased, omitted, blotted out, unrecalled… and consigned to oblivion. But what has Mexico and the rest of the world forgotten?

Cartoon - Alex. 2015. "All is Forgotten. I am Mexico. In 2014 Mexico attained sixth place with more journalists assassinated!"

Cartoon - Alex. 2015. "All is Forgotten. I am Mexico. In 2014 Mexico attained sixth place with more journalists assassinated!"

The answer is in the text at the bottom of Alex’s sketch, which translated into English reads, “In 2014 Mexico attained sixth place with more journalists assassinated!”

Contemporary Mexicanos intrinsically understand the mockery, for if there is anything more dangerous to be in Mexico than a student, it is being a journalist.

The artwork Todo está Olvidado is only slightly inaccurate when it comes to Mexico being ranked the sixth most dangerous place for journalists to operate in 2014, otherwise it is based on solid facts.

When eight Mexican journalists were assassinated in Mexico in 2010, and many others were threatened or disappeared, Pen Center USA held an evening of solidarity with Mexican journalists titled, State of Emergency: Censorship by Bullet in Mexico. Things have only gotten much worse since then.

In 2014 the International Federation of Journalists (IFJ) located in Brussels, Belgium, released a report that stated 118 journalists and media staff were killed doing their jobs in Pakistan, Syria, Afghanistan, Palestine, Iraq, Ukraine, Honduras, and Mexico. Pakistan rated the highest, with 14 journalists killed. Ukraine actually took 6th place for journalists murdered, while Mexico took 8th place… with 5 journalists murdered.

However, Spain’s newspaper of record, El Mundo, reported on July 17, 2014, that since the year 2000, over one hundred journalists and media workers have been assassinated in Mexico… and the list keeps growing. On Jan. 26, 2015, it was reported that the Mayor of Medellin de Bravo, a town in Mexico’s Veracruz state, is under arrest along with several corrupt policemen for the kidnapping, decapitation, and mutilation of journalist José Moisés Sánchez. Since 2010, 11 journalists have been murdered in Veracruz alone.

Mexico Is a Killing Ground for Journalists is a report from VICE News that quotes Jorge Carrasco, a reporter for the Mexican newspaper Proceso. In 2012 Mr. Carrasco received death threats while investigating the assassination of a fellow Proceso journalist. He put it this way: “Mexico is not a democratic country, because journalists wouldn’t be forced to work in conditions like this if Mexico was a democracy.”

The massacre of 12 cartoonists in Paris (there were 6 other victims as well) by reactionary “Islamic” extremists was rightly condemned, not just by the French, but by people around the world. The attack on Charlie Hebdo was seen as an assault on free expression. As an artist whose works are given to social criticism, I have always been a defender of freedom of speech and freedom of the press. On Jan. 11, 2015, more than a million people took to the streets of Paris to hold a “unity march” opposing terrorism. I was moved to see the tools of my profession, the pen and the pencil, held defiantly in raised fists during the protest; suddenly the world was seeing the artist’s pencil as I have always seen and used it… but I am left with some difficult questions, only two of which I will put forward here.

The Paris unity rally was attended by 44 foreign presidents and prime ministers. They linked arms and led the march for the 12 murdered staff members of Charlie Hebdo and the 6 other victims. I cannot help but wonder when these same world leaders will march in Mexico to honor the more than 100 journalists who have been assassinated, and to demand an end to the Narco State masquerading as a government that put them in their graves.

When will the international corporate press popularize the phrase… Je suis Ayotzinapa.

Exhibit: Voces/Voices of the People

I will be exhibiting at Voces/Voices of the People, a group exhibit at Avenue 50 Studio in the historic Highland Park area of Los Angeles. The show opens on Valentine’s Day: Saturday, February 14, 2015, with an artists reception from 7:00 to 10:00 pm. The exhibit’s press release states the following; “Artists are usually at the forefront of a struggle. 2014 has given us a plethora of struggles to think about: black lives matter, LGBT equality, immigration reform, sex/wage slavery, gentrification.” Ave 50 Studio invited a number of L.A. artists to “visually discuss the issue(s) most prominent in our world.”

No doubt my fellow artists will contribute paintings that throw a spotlight on various socio-political problems, but also efforts to solve them. The show includes works by Andres Montoya, Derrick Maddox, John Urquiza, Patricia Payne, Richard Turner, Frohawk Two Feathers, Eric Almanza, Norm Maxwell, and of course, yours truly.

"Masked" - Mark Vallen 2015 ©. Oil on linen, mounted on masonite. 11 x 15 inches.

"Masked" - Mark Vallen 2015 ©. Oil on linen, mounted on masonite. 11 x 15 inches.

Two of my recent works are included in Voces/Voices of the People. Painted in the hot colors of revolt, Masked, a small oil on canvas, depicts a firebrand in the midst of blazing turmoil. He represents all those who resist the headlong rush towards austerity, repression and war. I will also show my black and white drawing, Ayotzinapa Somos Todos (We are all Ayotzinapa), an image I transformed into a free downloadable poster now available to the world community via the internet. For those that attend the exhibit’s opening night, free signed copies of the poster will be available.

Voces/Voices of the People runs from Feb. 14, 2015 to March 7, 2015. Avenue 50 Studio is located at 131 North Avenue 50, Highland Park, CA 90042. For directions and gallery hours see the Avenue 50 Studio website.

Art For A Change Patreon Project

“A true friend is someone who lets you have total freedom to be yourself”
- Jim Morrison *

Dear Friends and Associates old and new. I have splendid plans for the Art For a Change project in this unfolding New Year, and I need a little bit of your help to make them come true.

Recently I found out about a new website platform called PATREON, which is pulling together a community of artists, photographers, writers, musicians, and all manner of creative people; it allows supporters to directly fund their favorite artists. Patreon is similar to an ongoing art grant, but one financed completely by the people!

This week, I have publicly launched the Art For A Change Patreon site, where you can directly support my art and writings. If you would like to know more about my Patreon campaign and perhaps lend your support, please visit:

www.patreon.com/markvallen

I am mindfully launching my Patreon campaign now because of an upcoming significant date for all Americans and the global community, January 19, 2015 - Martin Luther King Jr. Day. In his 1954 sermon Transformed Nonconformist, Dr. King uttered visionary words for the nascent political activists of his day that were also amazingly applicable to the artists of the present. As a teenager in the late 1960s, when I read King’s advocacy of “creative maladjustment,” I suddenly understood the path I would take in life. As both an artist and an activist, Dr. King’s words hold special meaning for me:

“This hour in history needs a dedicated circle of transformed nonconformists. Our planet teeters on the brink of atomic annihilation: dangerous passions of pride, hatred, and selfishness are enthroned in our lives: truth lies prostrate on the rugged hills of nameless calvaries: and men do reverence before false gods of nationalism and materialism. The saving of our world from pending doom will come, not through the complacent adjustment of the conforming majority, but through the creative maladjustment of a non-conforming minority.”

The scourges of racism, war, poverty, and severe inequality that Dr. King confronted still plague U.S. society and the world, recent mind-numbing events in the news are proof enough. But where are the creatively maladjusted that King spoke of? Clearly, the artists of today have not met the challenges of a world in crisis.

Banner from the "Art For A Change" Patreon page

Banner from the "Art For A Change" Patreon page

The Art For A Change project hopes to nurture and encourage the “non-conforming minority”… but it cannot be done without your support. I have been creating socially conscious art for my entire career - and I have written this blog for the last ten years - all entirely without any outside funding or art grants.

Patreon, meanwhile, allows creative people to receive regular monthly funding to support the imaginative things that they do. It provides a way for creative types to be compensated for their hard work, especially when it comes to work that is distributed online and often for free. The best part is, support can begin at just $1 per month! Plus, as part of an artist’s community on Patreon, supporters (patrons) can communicate with artists directly and get special updates on their work!

Today’s admission prices to any of the major museums in the U.S., can run anywhere from $15 to $25 dollars per person; the entrance fee for two individuals attending a “special” exhibit at a museum is commonly $50. In the first half of 2014, Christie’s auction house sold $4.5 billion worth of overpriced artworks to society’s 1%. None of that has anything to do with making art accessible to the 99%, or helping the great majority of working artists in the U.S. to survive. It is time that artists and their enthusiasts take another path; by means of Patreon, the public now has a new ability to help directly shape the art world.

I am excited to see what we can collectively accomplish in the months to come. Many of you have followed my works for years, some of you have just discovered this web log. I greatly appreciate that you find value in what I do, perhaps as much as I enjoy painting, drawing, and writing about art on this blog. Together, with your generous support, we can do so much more!

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* The quote from Jim Morrison came from an interview with him conducted for Creem Magazine by Lizzie James in 1970. Morrison died in 1971 at the age of 27. Creem Magazine published the interview in 1981 on the anniversary of Morrison’s death.