Carry The Names & Reverend Billy

"Carry The Names" - 24 hour vigil at New York's Grand Central Station, Jan. 5- 6, 2015. Photo by anonymous photographer.

"Carry The Names" - 24 hour vigil at New York's Grand Central Station, Jan. 5- 6, 2015. Photo by anonymous photographer.

On Tuesday afternoon, January 6, 2015, while evangelizing at New York’s Grand Central Station, the fire and brimstone preacher known as Reverend Billy was arrested on trumped-up charges of “obstructing governmental administration” and “disorderly conduct.” You might ask “who is that preacher man” and why was he Sermonizing at the nation’s busiest train station? Allow me to explain.

A coalition of activists in New York operating under the title, Carry The Names, decided to hold a peaceful, public vigil at Grand Central Station on January 5th and 6th, 2015. The vigil would be held to commemorate the victims of racist violence in the U.S. and to “bear witness with the names and stories of over 150 people killed or brutalized with impunity.” Most were killed by “legally-sanctioned extrajudicial violence,” that is, by those armed bodies of men employed by the state. It was at the vigil that those same men would put the good Reverend Billy in hand-cuffs.

Carry The Names was mostly promoted by social media. In Twitter and Facebook announcements, organizers of the vigil stated that “we will carry into the New Year the memory of more than 150 people who have been subjected to the tyranny of violence, in a country where racism and police brutality are pervasive. We will hold their names high for the world to see.” Hundreds of New Yorkers of all races and ages turned out for the vigil, where activist/artists from Carry The Names provided them with black and white signs printed with the names of those African Americans and Latinos slain due to racist violence.

 "Carry The Names Vigil" - Photo by Enbion Micah Aan/

"Carry The Names Vigil" - Photo by Enbion Micah Aan -

During the opening hours of the vigil the signs were held aloft as statements were made, songs were sung, poetry recited, and the names of the deceased were read out loud.

Vigillers never blocked travelers at the train station. Eventually the signs were arranged in neat symmetrical rows on the station floor. The roster of victims included Emmett Till, Fred Hampton, Eleanor Bumpurs, Amadou Diallo, Oscar Grant, Akai Gurley, and Eric Garner. Interspersed with the names were other signs bearing messages of rage and sorrow: Racism Is A Deadly Force, Beware Police Brutality, Not One More, Stop Killing Our Loved Ones, Imagine Freedom, Who Will Be Next, We Will Not Forget, Don’t Shoot, Stop Killing Our Loved Ones, and When Will We Be Free?

Some eighteen hours after the start of the vigil, Reverend Billy arrived. Seized by the Holy Spirit, he began to Sermonize the crowd with a homily aptly titled, Black Lives Matter. Approximately two minutes into his reflection on racial oppression in the U.S., he was arrested, hand-cuffed, and frog-marched off by the New York Police Department to cool his heels in “The Tombs,” the Manhattan Detention Complex in Lower Manhattan. The Carry The Names vigil completed its twenty-four-hour run despite the arrest, disbanding at 5 p.m.

I know Reverend Billy (a.k.a. Bill Talen) as a brilliant performance artist who has dedicated his life and work towards social transformation using the arts. He is wholly committed to the vision and practice of non-violence, both is his street theater interventions, and in his writings. Reverend Billy and his Stop Shopping Choir are radical performance artists that stage mock revival meetings to deride and ridicule the folly of late capitalist “culture” in the 21st century.

The police maintain that the Reverend’s disorderly conduct charge stemmed from his “intentionally causing public inconvenience and annoyance,” and that he had been arrested “for physically trying to block a police officer from doing their lawful duties.” I think not. His arrest was politically motivated, an act of state repression designed to squelch the free speech rights of all Americans.

The Daily News reported the Reverend saying “I was handcuffed while I was speaking in the middle of expressing my beliefs in a public space. This is the most basic form of American freedom.” On Wednesday the police released the Reverend on his own recognizance.

In a message to his supporters posted on his website, the Reverend said that “I shouted ‘Black Lives Matter’ a few times in Grand Central Station and police rushed at me like I was a fiend.” But his note was also conciliatory, he wrote: “The cops can be reached and changed. That must happen. It will come from black lives and white lives being unafraid to talk to them in public space. That was always how it was. We have to bravely go to them and change them - and that is a strange transfer, like wrestling with very old culture.”

I have the highest regard and fondness for Bill Talen and what he does… though I am not in full accord with him. When all is said and done our differences do not matter, for we are kindred spirits. I will say the same for the movement that has sprung up in the U.S. in opposition to police violence against “minorities.” I shrink back from its naiveté and political disorientation, yet at its core there are incontestable truths regarding race and class in America. Ultimately, this post is not about the Reverend Billy at all. Rather it is about all of those individuals, who, despite the odds, work to uproot the poison of racist terror that continues to exist in American society.

In my July 2011 article, An Exorcism at Tate Modern, I detailed a performance the good Reverend had just conducted at the Tate Modern in London to protest the museum taking sponsorship from the oil giant, BP. The article included a short video of the Reverend’s antics at the Tate, which were nothing short of inspirational and illustrative of the powerful performance art Reverend Billy and The Stop Shopping Choir engage in.

In 2013 I had the pleasure of meeting the Reverend when he came to Los Angeles to perform at a local venue with punk icon Exene Cervenka. I covered the event in my article, The Burning Palm Tree Epiphany, which I concluded with the following words: “Talen’s love of humanity, the earth, justice, and beauty, finds expression not in dry political discourse but in artful burlesque; he speaks a language community organizers are by and large unfamiliar with, or willfully disdainful of - the vernacular of art. The conformist machine society is equally non-aesthetic, so, the Reverend Billy Talen provides us with a revelation - art and action leads to salvation!”

Out With the Old, In With the New

I am continuing with my tradition of writing a “year in review” column, a habit that I have inflicted on the masses since 2008. So here are ten articles from this artist regarding cultural events of the past year; a collection that comprises my “Best of 2014.”


Lost Horizons

Lost Horizons: Edward Biberman
“Biberman (1904-1986) was an American realist painter that carved out a place for himself in mid-20th century Los Angeles, despite the ascendancy and domination of abstract expressionism.

His figurative paintings examined social inequality, racial oppression, and the plight of workers, placing him in the school of Social Realism. But his paintings focusing on the architecture of Los Angeles and the new - at the time - freeways of L.A., exposed his modernist side.”

Agony of Ukraine

Agony of Ukraine

The Agony of Ukraine
“Stepping into the quagmire stoked by super power geo-strategic interests, are a number of artists, arts organizations, and arts publications, some of which I will criticize in this article.

Oddly enough, none of the artists or artworks mentioned in this article present a cogent reason for exactly why Ukraine’s integration into the EU would result in a more prosperous and democratic Ukraine. This is especially interesting since millions of people from Spain to Greece have been demonstrating in opposition to the tough austerity measures of the EU.”


Tomata du Plenty

Who was Tomata du Plenty?
“As for the query regarding Tomata’s identity, answers might be found - to some extent - in a surprising exhibition at the Georgia Museum of Art, Boxers and Backbeats: Tomata du Plenty and the West Coast Punk Scene.

The show is an examination of Tomata’s naïve paintings in the context of the original 1977 L.A. punk rock milieu, and having been one of the earliest admirers of Tomata and the Screamers, it is a unique honor for me to have some of my drawings included in the exhibit.”

Police State

Police State

Police State
“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.”

Picturing Mexico

Picturing Mexico

Alfredo Ramos Martínez: Picturing Mexico
“I have long admired the works of the Mexican artist Alfredo Ramos Martínez (1871-1946), and over the decades I was fortunate to see a handful of original works by him. I was always puzzled that so few in the U.S. remembered him, especially those of us living in Southern California where Martínez came to live and exercise considerable influence. Once a renowned and much sought after artist, the sands of time have buried Martínez, but an amazing exhibit of his works at the Pasadena Museum of California Art (PMCA), Picturing Mexico: Alfredo Ramos Martínez in California, should stimulate a new appreciation for his art.” Also read: Ramos Martínez & The Flower Vendors.

TRAC 2014

TRAC 2014

Roger Scruton at TRAC 2014
“My day at TRAC 2014 began with the keynote address delivered by British conservative philosopher, activist, and author Roger Scruton. Well-known in Britain, Scruton remains an obscure figure for most Americans, apart from those conservatives that take pleasure in reading weighty cultural/political criticism.

He is perhaps best known, at least in artistic circles, for his 2009 BBC documentary, Why Beauty Matters, which hauled postmodern art over the coals while praising the virtues of traditional representational art.” Also read TRAC 2014: Part II.

... oh, please

... oh, please

Newseum: Super-Sized R-Rated Version
“On Nov. 14, 2013, the Newseum in Washington, D.C. opened what it hoped would be a ‘blockbuster’ show, Anchorman: The Legend of Ron Burgundy - The Exhibit. If there was ever a more blatant abuse of a museum’s mission, I cannot think of what it might be.

Slated to run until Aug. 31, 2014, the exhibit was created in partnership with Paramount Studios to promote its latest movie, Anchorman 2: The Legend Continues, written and directed by Will Ferrell and Adam McKay.



Prometheus: José Clemente Orozco
“The first modern fresco mural to be painted in the U.S. by a Mexican artist was titled Prometheus, and it was painted in 1930 at Pomona College in Claremont, California by José Clemente Orozco.

I photographed the mural in late January 2014, and those photos are the focus of this web post: close-up details that show the artist’s hand and the technical bravura of Orozco’s fresco painting.”



Serigrafía: Chicano Art at the PMCA
“As I have argued over the years, Chicano art is a well-spring that may help to invigorate the long dormant genre of American social realist painting.

While Serigrafía focuses exclusively upon silkscreen prints, it is worth noting that a number of the exhibiting artists are also painters (including this writer), and that Chicano/Latino print circles have long had very close association with the creation of public murals. If Serigrafía has a weakness as an exhibit, it is that it freezes its artists in a moment of time, and does not even hint at broader artistic production outside of poster making.”

¡Pobrecita Frida!

¡Pobrecita Frida!

Frida in Dubai-landia
“Let me be frank in my appraisal of contemporary Chicano art. It is far from its origins, and that in part is what this article is about. The roots are still viable, though the foliage is looking peculiar and in need of pruning.

The greater part of Chicano art is mired in tired clichés, as if portraits of ‘exotic’ Latinas wearing traditional clothes and posing with antique pistolas says anything meaningful about our past, present, or future. The school has largely reduced itself to painting those scenes of lush tropical jungles filled with colorful birds and happy peasants that David Alfaro Siqueiros detested and refused to paint. Something more is required today, and that is also a reason for this article.”

“Silent Night, Holy Night”

This post is part of my notionally annual, but in point of fact, irregular attempt at spreading Christmas cheer on my web log. This year, when I heard the old Christmas standard Silent Night, I began to think of current events in Mexico, for reasons that will be apparent if you read this yuletide message in its entirety.

In 1963 Leonard Bernstein conducted the New York Philharmonic in a rendition of Silent Night, showing why the 1818 composition by Austrians Franz Xaver Gruber (1787-1863) and Joseph Mohr (1792-1848) remains eternal around the world. Mohr, a Catholic priest and writer at St Nicholas Church in Oberndorf, Salzburg, had written a six-stanza poem on the birth of Jesus titled Stille Nacht, heilige Nacht (Silent Night, Holy Night). Mohr asked Gruber, the organist and choirmaster at St Nicholas, to write a melody around the poetic message of peace. Mohr and Gruber first performed the song at St Nicholas Church on Christmas Eve, 1818. In 2011 the United Nations Educational, Scientific and Cultural Organization (UNESCO) declared the song a part of the “Intangible Cultural Heritage” of the human race. Over the years the song was translated into English and shortened to three-stanzas, but it still retains its original message;

“Silent night! Holy night! Which brought salvation to the world, from Heaven’s golden heights, mercy’s abundance was made visible to us: Jesus in human form, Jesus in human form.”

Here I should mention that moment during World War I, the night before Christmas in December of 1914 to be exact, when German and British soldiers stopped fighting, climbed out of their muddy trenches, and defied their orders to kill one another by fraternizing in the no-man’s land. It started with the sound of German soldiers singing Stille Nacht, the melody wafting over the bomb scarred wasteland. British troops responded by singing Silent Night, and soon the two armies were exchanging handshakes, gifts, and playing soccer on the killing field. What united the two antagonists was a song with meaning and significance understood by both parties… something to be remembered in the war-mad present.

Most Americans remain blissfully unaware that Gruber and Mohr’s Silent Night is a Christmas standard in the Spanish speaking world as well. Known as Noche de paz (Night of peace), it differs from the English language version only in that each stanza begins with the words, Noche de paz, Noche de Amor. But the words “Silent Night, Holy Night” take on new meaning during the Christmas Season in today’s crisis shattered Mexico.

Screenshot of the Ayotzinapa Christmas tree at the Benito Juárez monument from a video by the Guardian.

Screenshot of the Ayotzinapa Christmas tree at the Benito Juárez monument from a video by the Guardian.

In the weeks just prior to Christmas, religious and political activists raised a Christmas tree decorated with artworks depicting the 43 missing students of Ayotzinapa kidnapped by government forces on Sept. 26, 2014.

The tree was erected in Mexico City’s Alameda Park at the Neoclassical monument dedicated to President Benito Juárez. The group, Católicas por el Derecho a Decidir (Catholics for a Free Choice), invited the public to come light the tree “For truth, justice, and peace in Ayotzinapa,” and also to “call for solidarity and accompany the families of those who have been victims of state violence, because if their families are not complete, then as a society, neither are we.” On Dec. 16th, the tree was consecrated in an evening ceremony before hundreds of people.

Affixed to the top of the Christmas tree was a Star of Bethlehem ornament that read, Justicia (Justice). The gathered crowd said a prayer for the eradication of corruption and government impunity. Hymns were sung and candles lit while 43 white balloons representing the missing students were released into the night sky. Photos of the event went viral, and that árbol de Navidad para Ayotzinapa was seen all over the world.

On Dec 22, the parents and relatives of the 43 missing Ayotzinapa students delivered a Christmas message to the world in the form of a short video, “We wish you a Merry Christmas, and ask that you don’t forget about us.”

But in truth what actually got me thinking of Mexico when I heard Silent Night, Holy Night, was the announcement that dozens of organizations and activists had called for a huge Marcha Silenciosa (Silent March) to be held in Mexico City the day after Christmas. Starting at the capital’s Ángel de la Independencia statue that memorializes those that died in the 1810-1821 war of Independence against Spain, the silent throng will converge on another symbolic site, the Monumento a la Revolución, which commemorates the revolution of 1910. The idea of an immense but silent multitude dressed in black and carrying candles representing the people’s fallen, a determined crowd that through their silence demands justice and liberty, no doubt terrifies the country’s vampiric ruling class.

On December 21, 2012, there was another silent march in Mexico, it took place in San Cristobal de las Casa, Chiapas when up to 40,000 indigenous supporters of the Ejercito Zapatista de Liberación Nacional (Zapatista Army of National Liberation - EZLN) marched in absolute silence to show the world that they exist and have not succumbed to government threats or intimidation. No speeches were made that day, the people just marched in steely, disciplined silence. It should be noted here that the EZLN has given full support to the families and supporters of the missing Ayotzinapa students.

A number of poster images announcing the 2014 yuletide demonstrations have been circulated in Mexico, three of which illustrate this article.

"Marcha Silenciosa" (Silent March) - Anonymous artist. 2014. Poster announces a mass Silent March in Mexico City the day after Christmas.

"Marcha Silenciosa" (Silent March) - Anonymous artist. 2014. Poster announces a mass Silent March in Mexico City the day after Christmas.

The poster Marcha Silenciosa (Silent March) announces the silent march in Mexico City the day after Christmas; drawings of all 43 disappeared students appear on the poster. The announcement exclaims in the voice of the people that “it has been three months and we are still waiting for them, alive.”

A rather crazed looking militant Santa Claus is featured in the poster, De la Universidad a las calles (The University to the streets), a poster announcing three Holiday Season student activities against the corrupt government of President Enrique Peña Nieto.

Yes, Santa knows if Presidente Nieto has been naughty or nice, and by the look on the face of the irate man in the red suit, Nieto ain’t gettin nuttin’ for Christmas.

Señor Claus’ white fur-lined red suit is unbuttoned to reveal a black t-shirt emblazoned with the words, ¡Fue el Estado! (It was the State!), the popular slogan that charges the government as being responsible for the kidnapping of the Ayotzinapa students. Old Kris Kringle’s suit is also ornamented with patches that read, Ya Me Cansé (I am tired), and 43, the number of kidnapped students.

"De la Universidad a las calles" (The University to the streets) - Anonymous artist. 2014. Poster announcing Holiday season activities in Mexico City to protest the disappearance of 43 Ayotzinapa students.

"De la Universidad a las calles" (The University to the streets) - Anonymous artist. 2014. Poster announcing Holiday season activities in Mexico City to protest the disappearance of 43 Ayotzinapa students.

The placard that Father Christmas holds over head is actually a calendar listing of activities in Mexico City to protest the disappearance of the 43 Ayotzinapa students. On Dec. 21 there were “Artistic activities and discussion forums at the Palacio de Bellas Artes” (Palace of Fine Arts).

On Dec. 26 Saint Nicholas encourages one and all to participate in “the 6th Global Day for Ayotzinapa,” which includes the massive silent march in downtown Mexico City.

And finally, St. Nick announces that on Jan 4, the Casa del Lago art & media lab at the Universidad Nacional Autónoma de México (UNAM) will host “arts, discussion forums, social health brigades, and various workshops” related to the Ayotzinapa crisis.

The poster Marcha Silenciosa, No Más Desaparecidos (Silent March, No More Disappeared), was designed by an arts group and announces the Dec. 26 silent march. The poster uses an altered version of the painting The Scream, by the Norwegian expressionist painter Edvard Munch (1863-1944). Munch’s original 1893 oil painting depicts a disturbed individual shrieking in abject terror while standing on a bridge against an undulating backdrop of a bloody red sunset.

"Marcha Silenciosa, No Más Desaparecidos" (Silent March, No More Disappeared) - Anonymous artist. 2014. Poster announcing the Dec. 26 silent march to protest the disappearance of 43 Ayotzinapa students.

"Marcha Silenciosa, No Más Desaparecidos" (Silent March, No More Disappeared) - Anonymous artist. 2014. Poster announcing the Dec. 26 silent march to protest the disappearance of 43 Ayotzinapa students.

The painting has become iconic of modern day angst and trepidation. The artist that created the Marcha Silenciosa poster counted on people recognizing Munch’s vision; the horror portrayed in Munch’s original painting was intensified in the Mexican poster by making the figure absent. That is the dismay and alarm that grips Mexico today.

It is highly unlikely that you will read any authoritative accounts of Mexico City’s post-Christmas Silent March in the pages of the New York Times or other U.S. newspapers, who altogether have barely covered the earth shattering changes washing over Mexico since September 2014; but that is not to say those events never happened.

I am amazed by the artistic and cultural responses to the Ayotzinapa crisis now flowing from cultural workers in Mexico, and their efforts have only just commenced. A powerful new art of social concern is blossoming across Mexico as I write these words, the likes of which have not been seen for decades. I will continue to document, encourage, and participate in that rising tide of artistic resistance.

– // –

UPDATES 12/27/2014

On the YouTube video channel for Ruptly TV you can view a brief video that documents Mexico’s Silent March of December 26, 2014.

"Monumento a la Revolución." Dec. 26, 2014. Photo courtesy of

"Monumento a la Revolución." - Photo of protestors massing at the Monument to the Revolution in downtown Mexico City, at the end of the Dec. 26, 2014 Silent March. Photo courtesy of

"Marcha Silenciosa" - Anonymous photographer. December 26, 2014.

"Marcha Silenciosa" - Anonymous photographer. December 26, 2014.

The Marcha Silenciosa photo shows a banner of the Virgen de Guadalupe carried by the crowd. Mexico’s Catholics believe that Nuestra Señora de Guadalupe (Our Lady of Guadalupe), is the protector of the poor and downtrodden. It is said that she appeared to an Aztec/Mexica peasant named Juan Diego Cuauhtlatoatzin on Dec. 9, 1531 on the Hill of Tepeyac, an ancient place of worship for the Aztec Earth Mother goddess, Tonantzin. Speaking to Juan Diego in the indigenous language of Nahuatl, the Virgen asked that a Church be built on the spot of her miraculous appearance. Today that church, the Basilica of Our Lady of Guadalupe in México City, is the most visited Catholic site in the world.

But the Guadalupe is also a battle emblem of Mexico’s insurgents. On Sept. 16, 1810, the Catholic priest Father Miguel Hidalgo y Costilla issued his famous Grito de Dolores (Shout of Dolores), a call that marks the beginning of Mexico’s War of Independence against the colonial power of Spain. Hidalgo led an army of 90,000 poorly armed indigenous soldiers under the banner of the Virgen de Guadalupe. This is beautifully depicted in a detail from the mural La Independencia de México by the great Mexican muralist Juan O’Gorman that hangs in Mexico City’s museum at Chapultepec Castle.

With the banner of the Virgen of Guadalupe leading the way, the triumphant rebel armies of Emiliano Zapata and Francisco Villa entered Mexico City in 1914 during the Mexican Revolution. Even today’s Ejército Zapatista de Liberación Nacional (Zapatista Army of National Liberation - EZLN), has adopted the Guadalupe, as evidenced by this EZLN poster announcing their First World Festival of Dignified Rage, held in Mexico City in December of 2008.

"Santa Claus did not bring me the 43" - Screenshot from a Euronews video on the Dec. 26, Silent March.

"Santa Claus did not bring me the 43" - Screenshot from a Euronews video on the Dec. 26, Silent March.


"Ayotzinapa somos todos" (We are all Ayotzinapa) - Mark Vallen 2014 ©

"Ayotzinapa somos todos" (We are all Ayotzinapa) - Mark Vallen 2014 ©

AYOTZINAPA SOMOS TODOS - Free downloadable 11 x 17 inch poster.

Created by Los Angeles artist Mark Vallen
in solidarity with the 43 kidnapped students of Ayotzinapa Normal School in Guerrero, Mexico.

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

The black and white poster is offered in two formats:

.pdf (2 megabytes) or .jpg (23 megabytes)

Artist’s Statement:

I began to create my artwork, Ayotzinapa somos todos, immediately after the 43 students from the Raúl Isidro Burgos Ayotzinapa Normal School were attacked by police in Iguala, Mexico on Sept. 26, 2014. I made my drawing with black colored pencils on textured handmade paper, producing an artwork that looks like a classical lithographic print. Over the decades I have created an abundance of images with socio-political themes, publishing them as multiples and freely distributing them with the objective of raising awareness and initiating activism; my Ayotzinapa somos todos drawing is no different in that regard.

I created Ayotzinapa somos todos as an expression of solidarity with the Mexican people who struggle so valiantly to build a free, democratic society. The title of my artwork is one of the slogans currently used by Mexico’s pro-democracy movement. I am greatly alarmed by the kidnapping of the 43 students, a heinous crime that provides the clearest evidence yet of collusion between the Mexican government and the drug cartels that run much of the country.

The woman in my drawing could be any Mexican woman. She might be a family member of one of the kidnapped students, a protestor outraged by the abductions, or perhaps someone that hears gunfire coming from one of the secret fosas clandestinas (clandestine graves) that pockmark the countryside. She may be a person who knows one of her country’s 26,000 desaparecidos… those who have been forcefully “disappeared” by the authorities or the drug cartels since 2006. For that matter, she might be an American woman declaring sympathy with the Mexican people and their yearnings for justice.

I wanted to distribute my artwork internationally to as many people as possible, so I decided to circulate a digitized poster version that people could print on their own. After adding some hand-drawn text to the digital artwork, and setting it up to be published on any computer printer, I uploaded the poster to the internet’s global community. My fervent hope is that my Ayotzinapa somos todos poster will bring much needed attention and support to the suffering Mexican people, and help them to achieve their dreams of a liberated country.

The official story presented by the Mexican government regarding the kidnapping and now presumed killings of the 43 Ayotzinapa students continues to unravel; anger, shock, and fury continues to rise amongst the people.

On Dec. 11, 2014, Proseso, an important news weekly in Mexico, published a report by scientists and researchers from the National University of Mexico (UNAM). The opinion has been translated into English and published at Borderland Beat. The finding contests the government’s insistence that the bodies of the murdered students were destroyed in a huge fire pit built in a landfill by their drug gang assassins; three members of the Guerreros Unidos (United Warriors) drug cartel are in government custody and have allegedly confessed their guilt.

The government claims the drug gang stoked the fire with trees, tires, and gasoline. The scientists at UNAM said that was impossible; to burn 43 human bodies and leave no remains would have taken “33 tons of tree trunks, four inches in diameter” and “about 1000 passenger car tires.” The smoke from the burning pyre “would have been seen 5 or 6 miles away.” Government investigators said that “three to 15 members” of Guerreros Unidos were involved in burning the remains, but the UNAM scientists asked how that number of men could possibly have moved 43 dead bodies and tons of wood and tires?

Looking at the photo of the landfill that appears in the Proseso article, one can see that from the rim of the landfill to its bottom is a very long and steep descent. According to the government, the narco-gang drove trucks filled with their 43 victims to the precipice, and one by one threw them off the sheer drop into the dump where they were then allegedly stacked and burned. According to the UNAM scientists, “in places of the greatest free fall, the bodies should have left traces of skin, blood and bones or pieces of clothing should have attached to articles in the landfill, which would serve as sources of genetic material for identification.” No such forensic evidence was ever found. The government of President Nieto never responded to the Proseso article. But Proseso was only just getting started.

On Dec. 13, 2014, Proseso published an explosive article by investigative reporter Anabel Hernández and journalist Steve Fisher titled, Iguala: La historia no oficial (Iguala: Unofficial History). Supported by the Investigative Reporting Program at the University of California, Berkeley, the report presents convincing evidence that Mexico’s federal authorities were directly involved in the kidnapping and killing of the Ayotzinapa students.

A number of Mexican news publications have picked up the report, including Univision Noticias and El Diario. As of this writing, the Guardian has published the story and the Los Angeles Times published a short mention. The Huffington Post presented a detailed report on the story, which also includes a 20 minute video interview with Anabel Hernández and Steve Fisher.

The government of President Enrique Peña Nieto has so far said it knew nothing about the attacks on the students and their kidnapping until after the crimes had transpired. It also claims that the mayor of Iguala and the local police were behind the attacks, and that the police turned the 43 students over to the Guerreros Unidos, whose gangsters murdered the students, burned their bodies, and disposed of their remains.

The Iguala: Unofficial History report shows that Federal Police and the Mexican Army were active participants in the attacks on the Ayotzinapa students, because the authorities opposed “the ideological structure and governance of the institution” (the Ayotzinapa Normal School), and due to the fact that the Federales saw the students as “political activists in training.” The Federal Police were watching every move of the Ayotzinapa students as they left their campus on Sept. 26, monitoring their travels all the way to Iguala. It was there that the Federal Police stopped the students and began shooting them.

Moreover, the Federal Police informed Mexico’s massive C4 intelligence center of the first gunshots fired at the students at 9:40 in the evening. C4 (for “Command Center, Control, Communications, Computation”) was launched in Mexico City in 2011 with a budget of $460 million dollars. Connected to Mexico’s central government, is the largest intelligence gathering center in all of Latin America. If C4 was informed of the attacks on the students as they occurred, then the government of President Nieto also knew of the assaults.

Furthermore, Steve Fisher, the co-author of Iguala: Unofficial History, told teleSUR News: “We cannot say whether or not Guerreros Unidos was ultimately involved with this, or not, but we can say that the evidence we have acquired was that they were tortured before their testimonies were given. It is thus suspect that they could actually get proper testimonies considering the fact that they were tortured brutally, including electric shocks to testicles and extreme beatings.”

The chant heard on Mexico’s streets since late September 2014, Fue El Estado (It was the state), now rings true for millions. While the ruling class of Mexico and its Narco-state government reels from the anger of a defiant populace as well as the accusations made in the Proseso exposés, a familiar face from El Norte emerges to help prop-up President Enrique Peña Nieto.

It has been announced that President Obama’s first meeting of the New Year will be with President Nieto at the Oval Office in the White House on Tuesday, January 6, 2015. The White House press secretary said that Obama looks forward to working with Nieto on “economic, security and social issues, as well as underscoring the deep cultural ties and friendship that exist between our two countries.” Also on Jan. 6th, Vice President Joe Biden will host the second U.S.-Mexico High-Level Economic Dialogue meeting with cabinet secretaries of the Nieto regime, talks intended to “give strategic direction to initiatives designed to improve economic competitiveness.”

President Nieto has been dismantling Petróleos Mexicanos (PEMEX), the state-run oil company created by Mexico’s left-leaning President Lázaro Cárdenas after he nationalized Mexico’s oil in 1938. Nieto is selling what remains of PEMEX to foreign oil companies. Since Mexico is the third largest oil producer in the Western Hemisphere and the ninth largest oil producer in the world, I am sure Mr. Biden will have much to discuss with the Mexican government. One can deduce that the massive violation of human rights in Mexico will not be a topic of discussion.

It is ironic that January 6th is also the Christian celebration of Epiphany, known as El Dia De Los Reyes in Mexico, or Day of the Kings, the final day of the 12 days of Christmas which celebrates the arrival of the Three Kings in Bethlehem and their presentation of gifts to the infant Jesus. How fitting that the new world ‘kings’ will meet on the Day of Kings… but I fear that Jesus Christ, the Prince of Peace, has not been invited.

In the aforementioned Huffington Post video interview with Anabel Hernández and Steve Fisher,  Professor John Ackerman of the National Autonomous University of Mexico was included as a speaker. He had this to say:

“The government account of what happened in Ayotzinapa is full of lies, full of contradictions, and it’s the federal government who is the central actor… who is responsible for these disappearances. And this lays directly on the shoulders of Barack Obama and the United States government, because Barack Obama and the United States government has been supporting Enrique Peña Nieto throughout this entire process and supporting his cover-up of  the situation, and never insisting on any investigation of human rights violations.”

The So-Called Torture Report


“We don’t torture, we’re a civilized nation

We’re avoiding any confrontation

We don’t torture, we don’t torture.”

Ten Year Anniversary of AFC Blog

Artist Mark Vallen at an undisclosed secret locale somewhere in greater Los Angeles, 2014. Photo by Jeannine Thorpe.

Artist Mark Vallen at an undisclosed secret locale somewhere in greater Los Angeles, 2014. Photo by Jeannine Thorpe.

¡Ay, Caramba! Today marks the 10th anniversary of my founding the Art For A Change web log.

This labor of love was brought into existence on November 27, 2004. In prior years, I wrote articles that appeared on my website and e-newsletter, but in 2004 I made the change to the blogging platform due to its immediacy.

As a lifelong realist painter, printmaker, and draftsman, I felt compelled to write about the visual arts, not just for other artists, but for those with little engagement in art. Being an artist was not enough, it was also necessary to be an advocate for art.

But what kind of art? As the name of this site suggests, one of my concerns is that we remember how to summon art as a means of authentic progress, community, human solidarity, and social transformation. Once integral facets of art, those ideals have been severely weakened as the art world continues its fall into commodification and hyper-commercialism. So it was also necessary for this web log to take an activist stance.

There is another meaning to the title, Art For A Change. After surveying the paucity, artlessness, and detachment of today’s official art world, the name proclaims that art will have to be found elsewhere. It will rise from the ground up, outside of officialdom - it lives here.

The first post I made to this web log was a quote from the American photojournalist Dorothea Lange. Celebrated for documenting life in the U.S. during the Great Depression, Lange said:

“Everything is propaganda for what you believe in actually. I don’t see that it could be otherwise. The harder and the more deeply you believe in anything, the more in a sense you’re a propagandist. Conviction, propaganda, faith, I don’t know, I have never been able to come to the conclusion that that’s a bad word.”

While this web log focuses on the visual arts, over the years I have made mention of dramatists, photographers, writers, and others who share my philosophy regarding art. Though I have not mentioned her before in my writings, one such person is the American author Ursula Le Guin. In a speech given by Ms. Le Guin at the National Book Awards as she received the 2014 Medal of Distinguished Contribution to American Letters, the 85-year old author described the world of publishing in much the same way as I describe the art world;

“I think hard times are coming when we will be wanting the voices of writers who can see alternatives to how we live now and can see through our fear-stricken society and its obsessive technologies to other ways of being and even imagine some real grounds for hope. We will need writers who can remember freedom. Poets, visionaries, the realists of a larger reality.

Right now, I think we need writers who know the difference between the production of a market commodity and the practice of an art. Developing written material to suit sales strategies in order to maximize corporate profit and advertising revenue is not quite the same thing as responsible book publishing or authorship.

Books, you know, they’re not just commodities. The profit motive often is in conflict with the aims of art. We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art, and very often in our art - the art of words.”

The Art For A Change web log shall continue to be a voice for those artists “who can remember freedom,” and a wellspring where “resistance and change” begins in art. In the future, you can expect from this blog a number of exciting projects designed to undermine the divine right of kings, both in the art world and otherwise.

Happy holidays and…

Ferguson photo by Associated Press ©

Ayotzinapa; Between pain and hope

Carlos Lorenzo Hernández Muñoz - Poster of the missing 19-year old Ayotzinapa student created by Laila Cohen.

"Carlos Lorenzo Hernández Muñoz" - Poster of the missing 19-year old Ayotzinapa student created by Laila Cohen. José Guadalupe Posada's famous La Calavera Catrina can be seen over the student's shoulder along with the Virgen de Guadalupe.

El Día de la Revolución is celebrated every year in Mexico on the 20th of November. The occasion this year marks the 104th anniversary of the 1910 revolution that overthrew the dictatorship of Porfirio Díaz. This year however will be different. The government has cancelled the annual military parade that ordinarily fills the capital’s streets. Instead, the Mexican people will participate in a nationwide protest and a general strike on Nov. 20, 2014. They will continue the protests against the government kidnapping and probable murder of 43 students that has outraged Mexico for almost two months.

Leonel Castro Abarca - Poster of the missing 18-year old Ayotzinapa student created by Bodox.

"Leonel Castro Abarca" - Poster of the missing 18-year old Ayotzinapa student created by Bodox.

This essay is about the Mexican citizens and artists that are playing a role in that uprising. The posters in this essay came from Mexican artists who created portraits of the 43 missing students disappeared by state “authorities” in Guerrero, Mexico. But before talking about the posters, here is some background on the story.

On Sept. 26, 2014 the police in the town of Iguala, located in the Mexican state of Guerrero, attacked students from the all male “Escuela Normal Raúl Isidro Burgos” teacher’s college in the town of Ayotzinapa. The students were preparing to protest against unfair government hiring practices in education. The officers killed 3 of the Ayotzinapa students in Iguala, wounded 25 others, and also killed 3 bystanders.

The police then rounded up 43 surviving students and handed them over to Guerreros Unidos (United Warriors), one of the criminal drug cartels plaguing the country. It is presumed the drug gang murdered their captives on behalf of the corrupt police.

The next day one of the students, 22-year old Julio César Mondragón, was found dumped on a street in Iguala for all to see. Whether he was a victim of the police or the gang is not known, but a medical examination confirmed that Mondragón had been tortured to death - his face and skull had been completely flayed and both his eyes gouged out. A student at Ayotzinapa for only a month before his death, Mondragón is survived by his 24-year old wife and their 3-month old baby daughter.

Giovanni Galindes Guerrero - Poster of the missing 20-year old Ayotzinapa student created by Argel Gómez Concheiro.

"Giovanni Galindes Guerrero" - Poster of the missing 20-year old Ayotzinapa student created by Argel Gómez Concheiro.

After the Iguala story broke, the mayor of Iguala, José Luis Abarca and his wife María de los Ángeles Pineda Villa, went into hiding. They were found in Mexico City and arrested by federal authorities who insist the couple were the “masterminds” behind the attacks on the students.

It is claimed the mayor gave orders to police to apprehend the students before they disrupted a speech to be given by his wife. On Nov. 14, 2014 the government formally charged Abarca for being behind the students’ kidnapping.

Nevertheless, there are far too many open questions regarding the case of the 43 missing students to consider it closed, for instance, where are their bodies?

The Mexican government has unearthed a number of clandestine graves in and around Iguala, but none contain the 43 students. They do however contain remains of dozens of people apparently killed in mass executions. But who were they? Who killed them? Protest signs seen on Mexican streets have some answers - Mexico es una fosa (Mexico is a grave), and Los asesinos están en palacio nacional (the assassins are in the national palace).

At a Nov. 7, 2014 news conference, Mexico’s Attorney General Jesus Murillo Karam claimed that three members of Guerreros Unidos confessed to killing the 43 students, incinerating their bodies and placing their remains in garbage bags, then dumping the contents into a river. Karam said authorities have retrieved one such bag and sent its contents to a medical lab in Austria for DNA analysis. Meanwhile, the families of the missing students asked the Argentine Forensic Anthropology Team (EAAF) to investigate the remains found so far. On Nov. 11 the forensic experts reported that the remains did not have “biological kinship” with the missing students.

"Abel García Hernández" - Poster of the missing 21-year old Ayotzinapa student created by Jorge Zapata.

"Abel García Hernández" - Poster of the missing 21-year old Ayotzinapa student created by Jorge Zapata.

What the Ayotzinapa tragedy has revealed about Mexico is that large sectors of the state apparatus - police, armed forces, courts, and politicians - have merged with the deadly drug cartels. This merger is aptly described by the signs now carried in the streets by protestors identifying those that kidnapped the 43 students, Fue El Estado - “It was the state.”

The shadow narco terror state incorporates municipal, state, and federal officials, and spends much of its time in the drug business. A 2012 article by CNN stated that Mexican drug cartels annually move $39 billion worth of cocaine and heroin into the United States. What no one will say is that Mexicans are dying like flies to support America’s drug habit.

The posters displayed in this article came from #IlustradoresConAyotzinapa, a Mexican Tumblr account where over 200 Mexican artists have created portraits of the missing students. The artists began painting the disappeared students to humanize them, to further ingrain them in the public consciousness, and to embolden the Mexican movement for democracy and human rights. The posters on the Tumblr account have been printed out and carried in demonstrations in Mexico and around the world. Some of the posters are produced by amateurs, the majority however are produced by professional artists.

"Alexander Mora Venancio" - Poster of the missing 21-year old Ayotzinapa student created by José Quintero.

"Alexander Mora Venancio" - Poster of the missing 21-year old Ayotzinapa student created by José Quintero.

While digital media plays a large part in the production of the posters, a variety of artistic mediums are employed; drawings done in pencil, chalk, or pen and ink, watercolors, linoleum and woodcut prints, paintings in acrylic or oils. Even sculptural and embroidered works. A number of posters offer serious treatments of the subject matter, others are humorous and fanciful in the Mexican folkloric tradition. All are touching and deeply compassionate.

The artists at the Tumblr account have apparently inspired others; in this video artists in Chilpancingo, the capital of Guerrero, paint portraits of the students in a public square.

The Ayotzinapa posters bring up an important question for artists everywhere. What is the purpose of art? Is it just a commodity for wealthy elites? The Ayotzinapa posters are perfect examples of art springing from the people, the very antithesis of the detached and “apolitical” postmodern art found in today’s museums and galleries. The posters were done for a pure and noble social purpose, they defy the politics of the so-called art world - obsessed as it is with stardom and ostentatious wealth. Those making the Ayotzinapa posters will likely never appear in museums or galleries, but their creations have deeply worked their way into the hearts and minds of the people, expanding and deepening the very definition of Mexican culture.

"Luis Ángel Abarca Carrillo" - Ink drawing. Poster of the missing 18-year old Ayotzinapa student created by Diego Molina.

"Luis Ángel Abarca Carrillo" - Ink drawing. Poster of the missing 18-year old Ayotzinapa student created by Diego Molina.

A caption that appears on each portrait on the Ayotzinapa Tumblr account asks a question regarding the portrayed missing student, “I want to know where” he is. In other words the person depicted is a desaparecido - one who has been made to “disappear.”

Desaparecido is a Spanish word that describes a type of repression I first became familiar with during the October 1968 Summer Olympics held in Mexico’s capital. Ten days before the Olympic games began in Aug. 1968, the county’s student movement assembled in the Plaza de las Tres Culturas in Tlatelolco to demand democracy and human rights.

President Gustavo Díaz Ordaz ordered the plaza cleared with 8,000 soldiers and dozens of tanks, the result was the army killing upwards of 300 students. The regime destroyed the student movement by making its leaders and supporters disappear - through kidnapping, false imprisonment, and murder by state security forces. No one was ever brought to justice for these crimes.

For those who march in Mexico today, Ni 43, No 68 (Not 43 or 68) is a popular slogan that refers to the slaughter in Tlatelolco. Mexicans have not forgotten that President Ordaz was a member of the PRI (Partido Revolucionario Institucional), the same authoritarian party of today’s President Enrique Peña Nieto. In fact, the 43 kidnapped Ayotzinapa students intended to join the annual October 2 protest held in Mexico City to commemorate the events of Tlatelolco in 1968.

"Leonel Castro Abarca" - Poster of the missing 18-year old Ayotzinapa student created by Ricardo Peláez Goycochea.

"Leonel Castro Abarca" - Poster of the missing 18-year old Ayotzinapa student created by Ricardo Peláez Goycochea.

The regimes of El Salvador and Guatemala disappeared thousands of their civilians in the 1980s, more than 50,000 in Guatemala and 8,000 in El Salvador. November 16, 2014 marked the 25th anniversary of the U.S. trained Salvadoran Army’s Atlacatl Battalion going onto the campus of the Universidad Centroamericana in San Salvador, and murdering six Jesuit scholars, their housekeeper and her daughter.

Each were shot in the back of the head. Crimes like these became the subject of much of my art during that period. I imagined that Latin America would someday be free of such tyranny - but in today’s Mexico, there are now some 29,000 desaparecidos.

Addressing the disappearance of the 43 students and the wider issue of government corruption and violence, the students and teachers of Mexico’s National School of Dramatic Arts (ENAT), have been doing public performances - interventions if you will - all around the capital. In this amazing YouTube video of one such performance in the courtyard of the Museo Nacional de Arte in Mexico City, the students tell the tale of those gunned down by Iguala police. This is what “performance art” should be all about.

Reading the U.S. media on the current situation in Mexico, one cannot find a single mention that President Enrique Peña Nieto most likely came to power in the 2012 elections due to massive fraud. In poor neighborhoods, the PRI party distributed a purported $8.2 million in pre-paid gift cards for Soriana grocery stores in exchange for votes of Nieto. There were also charges that Nieto and the PRI purchased positive media coverage from Televisa and other media outlets.

"Jorge Aníbal Cruz Mendoza" - Poster of the missing 19-year old Ayotzinapa student created by Gabriel Pacheco.

"Jorge Aníbal Cruz Mendoza" - Poster of the missing 19-year old Ayotzinapa student created by artist Gabriel Pacheco.

Before the 2012 vote count was tallied and announced, Nieto declared himself to be the new president. As hundreds of thousands of Mexicans marched in the streets to oppose his sham election, President Obama called Nieto to congratulate him on his “victory.”

In 1990 the Peruvian writer Mario Vargas Llosa said live on Mexican television, that “Mexico is the perfect dictatorship. The perfect dictatorship is not communism, not the USSR, not Fidel Castro; the perfect dictatorship is Mexico, because it is a camouflaged dictatorship.”

Perhaps Obama never heard of Mr. Llosa or his description of the perfect dictatorship. Interestingly enough, Obama has currently said nothing about the upheaval in Mexico. Secretary of State Kerry has been silent, as have all other members of the Obama administration. The only person to offer a comment was Jennifer Psaki, the spokesperson for the State Department, who on Nov. 13, 2014 simply said “We urge all parties to remain calm through the process.”

"Jorge Antonio Tizapa" - Woodcut poster of the missing Ayotzinapa student created by Claus López López.

"Jorge Antonio Tizapa" - Woodcut poster of the missing Ayotzinapa student created by Claus López López.

Maybe President Obama is made uncomfortable by the fact that his administration provides $15 million in military aid to Mexico, up from the $3 million it received in 2009.

Evidently it is difficult for the President to justify his arming a narco terror state while it murders its own people, so it was thought best just to keep quiet.

The Mérida Initiative signed by President Bush in 2008 and since extended by Obama “indefinitely,” provides $2.1 billion to Mexican security forces fighting the so-called drug war. Since 2006 the U.S. government has spent $3 billion on funding the Mexican government’s “war on drugs,” a joke if there ever was one.  The US government is indirectly arming the very drug cartels it says it wants to eradicate.

The 2012 election returned the corrupt PRI to power, the authoritarian party that ran Mexico for 70 years. That reign was broken in 2000 when Vicente Fox of the conservative PAN (Partido Acción Nacional) won the presidency, followed by Felipe Calderón of the PAN, who became president in 2006. Calderón will likely be remembered for Mexico’s bloodiest years since the 1910 revolution. In 2006 he supposedly began a war against the drug cartels then running large swaths of Mexico. By the end of Calderón’s six year term, the cartels were stronger than ever and an estimated 110,000 civilians had perished in the conflict.

"Julio César López Patoltzin" - Poster of the missing Ayotzinapa student created by Rodrigo Padilla López. The artist used digital media to replicate the visual effects of traditional Mexican woodcuts, and used the Aztec Náhuatl language to ask the question "Kampa ka?" (¿Dónde está?)

"Julio César López Patoltzin" - Poster of the missing Ayotzinapa student created by Rodrigo Padilla López. The artist used digital media to replicate the visual effects of traditional Mexican woodcuts, and used the Aztec Náhuatl language to ask the question "Kampa ka?" (¿Dónde está?)

Placing the deaths of so may innocent Mexican citizens in context, it should be remembered that during the approximately 17-year long Vietnam war, some 60,000 U.S. soldiers were killed in combat. Nearly twice that number of Mexican citizens died in just six years of Calderón’s drug war. Since President Nieto took power in 2012, another 29,000 citizens have perished in the war. Then came the disappearance of the 43 students of Ayotzinapa; it took Nieto 11 days before he said a word about the kidnapping.

During his Nov. 7 news conference announcing the apparent killing of the 43, Attorney General Karam tried to stop questions from the press by saying, “Ya me canse” (I’ve had enough). His words became a rallying cry. Mexican filmmaker Natalia Beristan perhaps said it best when she appeared in a YouTube video response to Karam’s statement. Beristan said: “Señor Murillo Karam, I too am tired. I’m tired of vanished Mexicans, of the killing of women, of the dead, of the decapitated, of the bodies hanging from bridges, of broken families, of mothers without children, of children without fathers. I am tired of the political class that has kidnapped my country, and of the class that corrupts, that lies, that kills. I too am tired.”

There are other filmmakers that share Ms. Beristan’s opinion. On Nov. 11, 2014, the Museum of Modern Art (MoMA) in New York City held its annual film benefit, this time a tribute to Mexican filmmaker, Alfonso Cuaron (Gravity, Children of Men, Y Tu Mamá También, Harry Potter and the Prisoner of Azkaban). Cuaron wrote a collective statement with fellow Mexican filmmakers Guillermo del Toro (Pan’s Labyrinth), and Alejandro González Iñárritu (Birdman), which was read before the elite audience at MoMA by del Toro. The statement read in part:

“This past September, 43 students were kidnapped by the local police in the state of Guerrero, Mexico. After a period of apathy, the authorities only then were forced to search for them, due to the protestations of citizens across the entire country and the world, and they found the first of many, many mass graves. None of these graves contained the remains of the missing students. The bodies within them were those of other anonymous victims. Last week, the general attorney announced that the 43 students were handed over by the police to members of a drug cartel to be executed and burned in a public dump. But even the identity of those charred remains awaits proper DNA.

The federal government argues that these events are all just local violence — not so. As Human Rights Watch observes, these killings and forced disappearances reflect a much broader pattern of abuse and are largely a consequence of the longstanding failure of the Mexican authorities.

We believe that these crimes are systemic and indicate a much greater evil: the blurred lines between organized crime and the high-ranking officials in the Mexican government. We must demand answers about this and we must do it now. We would like to take this opportunity to ask you all to join us in the pain and indignation felt by the families of the disappeared students and of every civilian in Mexico who is living with this atrocious reality on an every day basis and to at least be aware of this systematic human rights violation taking place so often and so close to you.”

In today’s Mexico there is a modern expression that illustrates the country’s agony; Ayotzinapa; Entre el dolor y la esperanza. In English the phrase translates to “Ayotzinapa; Between pain and hope.” The pain emanating from the place is a distillation of Mexico’s entire blood-spattered history, but it is also an anguish recognized by working people no matter where they live. Likewise, the optimism pouring forth from Ayotzinapa, inspires not just Mexicanos but people all across the globe who dream of a better world.

– // –


Videos that document the November 20, 2014 demonstration:
Students of the Centro Universitario de Estudios Cinematográficos at the National Autonomous University of Mexico (UNAM), created this 4 minute video on the Nov. 20, 2014 march.

The Mexican website Animal Policito made a video of the Nov. 20 march that documents the size of the crowds through the use of drone cameras.

“Battle Cry” video:
Grito de Guerra is a new song produced by a collective of 30 Mexican recording artists. The video for the composition incorporates images from recent demonstrations along with footage of the song being recorded in the studio. On Nov. 27, 2014, Grito will be released on iTunes and other platforms, with the proceeds going to the parents of the missing students.

The following Mexican Twitter accounts are covering the uprising in Mexico:
#AcciónGlobalPorAyotzina #20NovMx #NOnosCANSAREMOS #FueElEstado

Richard Duardo: RIP

“‘Where in the world, where in this situation now can I be revolutionary, iconoclastic, and a voice of freedom?’ And, mind you, I’d never even lifted a pencil or drawn a circle. I was eighteen. I thought, “Artist. You can be as revolutionary and loud and opinionated and self-righteous as you want to be in this world - in the art world. And they’ll just accept it.” You know, what an interesting curiosity, an artist with an opinion. And I thought, “Okay. I’m going to be an artist. This is how I can survive, this is where I feel I can be free.”

- Richard Duardo in an 2007 interview with the UCLA Chicano Studies Research Center.

 "Richard Duardo" - Mark Vallen. 1980 ©. Print from 35mm Diapositive. I took this photo of Richard standing in front of the Centro de Arte Público gallery in Highland Park, Los Angeles. He was 28 at the time and I was 27.

"Richard Duardo" - Mark Vallen. 1980 ©. Print from 35mm Diapositive. I took this photo of Richard standing in front of the Centro de Arte Público gallery in Highland Park, L.A. He was 28 at the time and I was 27.

My old friend and associate Richard Duardo died on November 11, 2014 at the age of 62. I will let others compose the detailed obituaries… but I do have a few things to say about the passing of L.A.’s maestro of serigraphy.

I made Richard’s acquaintance in 1980, since we were both denizens of the Los Angeles punk scene. Our reputations preceded us, as we knew of each other’s works before we ever met.

I had seen a number of silkscreen prints by Richard - like his 1978 poster Dia de Los Muertos, which was a public announcement for an art event held on Nov. 4, 1978 in the Highland Park area of the city.

Featuring a hand-drawn image of a skull clenching two red roses in its teeth, the poster is still in my collection. But it was Richard’s punk posters that really grabbed me.

Richard and I were both enamored with The Plugz, one of L.A.’s original Chicano punk bands. The group was widely popular in Los Angeles during that tumultuous period and Richard had produced a 1980 poster for them announcing performances with British bands Gang of Four (Starwood) and The Selector (Whiskey a Go Go).

"The Plugz" - Richard Duardo. 1980. Silkscreen poster announcing a Plugz performance at the Starwood with the Gang of Four.

"The Plugz" - Richard Duardo. 1980. Silkscreen poster announcing Plugz performances at the Starwood and Whiskey a Go Go.

That same year Richard teamed up with Tito Larriva of the Plugz and Yolanda Comparan Ferrer to form the Fatima Records punk label. Its first production was Attitudes, the debut album from L.A. Chicano punk rockers, The Brat. Richard designed the album cover art for the record.

Only in the last few years has there been some acknowledgement that a sizable portion of L.A.’s original punk scene was composed of working class Chicano youth.

We were also fans of the Screamers, possible L.A.’s most extreme and theatrical early punk bands. In 1980 Richard created a large silkscreen portrait of Screamers front man Tomata du Plenty and keyboard player Tommy Gear.

Snarling in cheap sun glasses, Tomata stands behind Gear, who breaks open a raw egg. Esoteric and mysteriously confrontational, the Screamers print not only captured the novelty of the band, but the uniqueness of the entire early L.A. punk scene.

I still think of the Screamers print as a high-point of Richard’s design career.

At the time I had also created portraits of the Screamers, and I am pleased that one of them, a 1978 portrait of Tomata, is currently on display at the Georgia Museum of Art’s Boxers and Backbeats: Tomata du Plenty and the West Coast Punk Scene until January 4, 2015.

"Screamers" - Richard Duardo. 1980. Silkscreen. 37 x 40 inches.

"Screamers" - Richard Duardo. 1980. Silkscreen. 37 x 40 inches.

My two cover illustrations for L.A.’s punk journal SLASH magazine were well known in 1980 - a portrait of singer Sue Tissue of the Suburban Lawns, and Come Back To Haunt You, a drawing of an indigenous man wearing a leather jacket and sporting a Mohawk.

One day in 1980 Richard called me to ask if I would exhibit my works at a small group exhibit of artists to take place at his Centro de Arte Público gallery in Highland Park. He knew of my art, especially liked the SLASH portraits, and really wanted these works in the show.  Of course I said yes; years later, every time I saw Richard he mentioned how much he loved the Sue Tissue drawing, and always hinted at buying it. Now I wish I had simply given him a print of it years ago.

In 2002 I contacted Richard to see if he would be interested in reprinting my Sabra poster at his Modern Multiples serigraphy studio in downtown Los Angeles. He was extremely supportive of the project and immediately agreed to do the work. At the time Israel had started its “Operation Defensive Wall” campaign that had its soldiers fighting major battles in Palestinian West Bank cities; it would be the largest Israeli military campaign in the West Bank since the 1967 war. Moreover, in June of 2002 the Israeli cabinet decided to build a gigantic wall that would seal-off the Palestinians in the West Bank. The Israelis called it a “security fence,” the Palestinians called it the “apartheid wall.” I thought it was time to republish my Sabra silkscreen poster.

I originally created the Sabra print in 1982 as a street poster reaction to the Sabra and Shatila massacres that killed some 3,000 Palestinian civilians in Lebanon during the Israeli invasion of that country in June of 1982. The Israelis had invaded with the intention of destroying the Palestine Liberation Organization (PLO), which was then in exile in Lebanon. The Israeli Defense Force surrounded the PLO in the capital of Beirut, and laid a seven week long siege of the nation’s capital of Beirut that included saturation bombing. The war ended with a U.S. negotiated settlement that forced the PLO to completely withdraw from Lebanon. After the pull out, Lebanon’s President Bashir Gemayel was assassinated, and in retaliation his right-wing supporters were allowed by Israeli troops to enter the Palestinian refugee camps of Sabra and Shatila - thousands of innocent Palestinian civilians were brutally murdered and mutilated.

"Sabra" - Mark Vallen. Silkscreen. 23 x 29 inches. Originally published in 1983, Sabra was reprinted in 2002 by Richard Duardo at his Modern Multiples Serigraphy Studio in L.A. Each print was pulled on heavy white paper, hand-signed by the artist, and received the Modern Multiples studio "chop" mark.

"Sabra" - Mark Vallen. Silkscreen. 23 x 29 inches. Originally published in 1982, Sabra was reprinted in 2002 by Richard Duardo at his Modern Multiples serigraphy studio in Los Angeles. Each print was pulled on heavy white paper, hand-signed by the artist, and received the Modern Multiples studio "chop" mark.

As Richard pulled the Sabra print, we discussed the politics of printmaking and much more. He was very “left,” but also quite cynical, preferring the artist’s life to that of the political activist. I spent some days around the studio, talking with Richard about all manner of things, including the so-called art scene. In a moment of truth he told me that he sometimes wondered what it was all about. He spoke of the hundreds of artists that had passed through his studio, and how so few of them actually got anywhere; of those that did achieve fame, their celebrity was usually fleeting.

I have to mention that during my time at Modern Multiples, Richard was also working on a silkscreen reworking of the legendary artwork created by Ignacio Gomez for the play, Zoot Suit. I was thrilled to see this work in progress, not just because I have come to know Mr. Gomez, but for the reason that as a twenty-five year old I saw Zoot Suit premier at the Mark Taper Forum in Los Angeles in 1978. I watched in fascination as Richard’s assistants worked on creating a hand-drawn stencil for the large 37 x 51 inch silkscreen. Since the print had 25 colors in it, that meant 25 different screens; and because the edition was 250 prints, that meant an extremely labor intensive project. The results however are nothing short of astounding. Zoot Suit is a dazzling print full of rich detail and one of the reasons why Richard was an acknowledged master printer and his Modern Multiples was possibly the best arts oriented silkscreen workshop in the entire country.

I certainly had artistic differences with Richard. I thought his personal works became much too commercial in the latter half of his career, and that he need not have worked with so many self-absorbed art stars. He started to apply to himself the dreadful moniker given to him by others, “the Andy Warhol of the West Coast.” But I have been told that it is impolite to speak ill of the dead.

Richard was sociable, gracious, and always supportive of artists. Looking up his own prints online, I am alarmed to find that his early works are practically non-existent, which is why I felt it necessary to write this obituary. Of the hundreds of artists that did pass through his workshop, I am certain that each and every one of them felt special because of the experience. That perhaps was Richard Duardo’s greatest legacy.

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The McNay Art Museum in San Antonio, Texas will present an exhibition of 20 large-scale silkscreen prints by Richard Duardo from June 3, 2015 to August 10, 2015.