Category: War on art

Eco-Vandals Hurl Paint on La Scala Opera House

On Dec. 7, 2022 five members of Italy’s eco-extremist group Ultima Generazione (Last Generation), attacked the famous La Scala opera house in Milan on its opening night. The eco-vandals hurled buckets of pink, blue, green, yellow, and red paint onto the facade of the historic opera house that first opened in 1778.

The attack came early Wednesday at around 7:30 am with the vandals throwing pails of paint on the face of the building, its portico and entrance doors, as they shouted slogans against gas and oil. They unfurled red banners bearing the slogan: “Last Generation—No Gas and No Carbon,” then waited to be arrested.

La Scala opera house in Milan, Italy, attacked by Ultima Generazione. Photo: Ultima Generazione.

The police arrived and arrested the culprits. At the time of this writing I have no word as to the charges. Later on, the Ultima Generazione organization released a statement on their Twitter account in an attempt to justify their crime:

“Instead of taking the necessary measures to safeguard Italy’s future from drought and climate disasters, politics is locking itself away to enjoy a show for a few people. We smeared the La Scala theater because we cannot accept that our politicians carelessly watch a theatrical drama when they are accomplices in a real drama, when every day people die because of their choices.”

Arresting the Last Generation culprits. Photo: Ultima Generazione.

La Scala traditionally starts its opera season on Dec. 7 to coincide with the feast day of Milan’s patron, Saint Ambrose, but this year the opera house first had to clean up the enormous mess the “climate activists” had created. The eco-vandals choose Saint Ambrose’s Day for their vile spectacle, but there’s also another reason. The opera season opens with a performance of Boris Godunov by Russian composer Modest Mussorgsky, and attendees included Italian premier Giorgia Meloni and European Commission president Ursula Von Der Leyen. The attention seeking vandals couldn’t resist the temptation of disrupting the opera.

The General Director of La Scala, Dominique Meyer, properly noted, “In doing ‘Boris Godunov,’ we don’t do propaganda for Putin. This is a great masterpiece in the history of art.”

On the 1778 steps of the La Scala opera house. Photo: Ultima Generazione.

As I’ve documented on this blog, this was not the first attack on the arts committed by Ultima Generazione; in the recent past they hurled soup onto Van Gogh’s The Sower displayed in Rome, poured flour over a sports car painted by Andy Warhol at an exhibition in Milan, and glued themselves to the marble statue Laocoön and his Sons created in 200 BC and now in the permanent collection of the Vatican Museums.

The La Scala opera house in Milan, officially known as Teatro alla Scala or La Scala, is one of the greatest opera and ballet theaters found anywhere in the world. It maintains its own orchestra, chorus, and ballet company, has its own museum that documents all of the composers, artists, singers, and dancers that contributed to La Scala’s epoch-making history, and runs an Academy were professional training in music, dance, stagecraft, and management is offered to some 1,700 students annually.  Only a barbarian would assail an institution like La Scala; which brings me to a barbaric threat issued recently by the Just Stop Oil vandals.

In a Nov. 30, 2022 interview with the UK’s Sky News, a spokesman for Just Stop Oil, Alex De Koning, announced that the group was ready to escalate its tactics by slashing historic paintings. De Koning threatened the art world by saying his organization will soon follow the example of the English Suffragettes of the early 1900s, who “violently slashed paintings in order to get their messages across.”

The spokesman said Just Stop Oil’s attacks on famous artworks had “marked an escalation” in their tactics, and that the campaign will “continue to escalate unless the government meets our demand.” This of course means forcing the nation to ban natural gas, oil, and coal in favor of wind power.

De Koning said the group will be disrupting the run-up to Christmas, saying it’s “always good to have new tactics.” Yeah, like slashing masterpiece oil paintings. Merry Christmas, and good will towards vandals. He also told Sky News:

“If things need to escalate then we’re going to take inspiration from past successful movements and we’re going to do everything we can. If that’s unfortunately what it needs to come to, then that’s unfortunately what it needs to come to. We’re fighting for our lives, why would we do any less?”

The reporter from Sky News asked if that meant slashing masterpiece paintings, the response was: “It could potentially come to that at one point in the future, yeah.” In my Sept. 9, 2022 essay, The Eco-Extremist War on Art, I mentioned that Just Stop Oil had posted a call for criminal vandalism on their Twitter account, they warned: “The Suffragettes slashed paintings for the right to vote.” Their tweet included a black and white photo of the ruined Rokeby Venus painting by Spanish artist Velázquez, which had been slashed in 1914 by a Suffragette swinging a meat cleaver.

Just Stop Oil tweet, July 8, 2022.

Destroying the Velázquez masterpiece was part of a much larger Suffragette campaign of terrorist violence designed to win the vote for women. Radical Suffragettes carried out hundreds of arson and bombing attacks between 1913 and 1914; the only thing that stopped their terrorism was the outbreak of WWI.

In De Koning’s Sky News interview, Just Stop Oil announced its intention of intensifying their destructive operations to the actual physical obliteration of artworks—just as the Suffragettes did in the early 1900s. It won’t be long before the apocalyptic minded eco-extremists adopt the terror tactics of their Suffragette heroines.

De Koning said Just Stop Oil vandals would not be intimidated by jail sentences: “At least in prison you get three meals a day and shelter and water. In 20 years’ time, who knows if that’s still the case for millions of people.” What makes De Koning, a 24-year-old cream-puff, think he and his middle class pals could endure the harsh indignities of prison life? They don’t possess the toughness to keep body and soul together in such a place. Hey vandals, look before you leap.

Some nasty surprises await the eco-extremists who are incarcerated in a penitentiary. There is no reason for me to list such ghastly and ignoble delights here… Just Stop Oil members will be introduced to them in due time.

Eco-Extremists Shut Down Beethoven Concert

On Nov. 23, 2022, thousands of Germans gathered to hear the Saxon State Orchestra Dresden perform the music of Ludwig van Beethoven at the Elbphilharmonie (Elbe Philharmonic Hall) in Hamburg, Germany.

Before the orchestra could begin the performance of Beethoven’s Violin Concerto in D major, two members of Germany’s eco-extremist group known as Letzte Generation (Last Generation), seized the stage. Welly, welly, welly, welly, welly, welly, well. To what do we owe the extreme pleasure of this surprising visit?

Letzte Generation seize conductor’s podium at Elbe Philharmonic Hall in Hamburg. Photo: Last Generation.

The man and woman dressed in Day-Glow safety vests, immediately glued their hands to the conductor’s podium and began haranguing the audience about “climate collapse,” reportedly there were audible groans from the audience. Horrorshow is right, friend. A real show of horrors.

A gent in the orchestra seating area grumbled out loud: “What’s all this about  eh? Using Ludwig Van like that. He did no harm to anyone. Beethoven just wrote music!” A young man in the mezzanine stood up and shouted at the Last Generation goons: “Well, if it isn’t fat stinking billy goats in poison! How art thou, thou globby bottles of cheap, stinking chip oil? Come and get one in the yarbles, if ya have any yarbles, you eunuchs jelly thou!” A lad stood in the balcony section and yelled: “Stop! Stop, you grahzny disgusting sods. It’s a sin, that’s what it is, a filthy unforgivable sin, you bratchnies!”

In her rant the Last Generation woman outraged the audience with the following:

“I am here today because we collectively suppress the climate catastrophe and thus take away our children’s lives in security and peace! Just like there is only a violin concerto by Beethoven, we only have this one planet, the limits of which we disregard so much that climate-related disasters become more common and more deadly.

We all have to take action now and resist the criminal advancement of our rulers! There will be no more Elbphilharmonie to enjoy Beethoven when Hamburg is under water. The crisis is escalating now, before our eyes!”

Ludwig Van just wrote music!

No sooner had the words left the mouth of Last Generation, the two eco-extremists were arrested by police after solvent was used to unglue them from the podium.

Then the music coming up from the floor was our friend Ludwig Van.

Oh bliss! Bliss and heaven! Oh it was gorgeousness and gorgeosity made flesh. The trombones crunched redgold under the seats, and the trumpets three-wise silverflamed, and there by the door the timps rolling through our guts and out again crunched like candy thunder. Oh, it was wonder of wonders.

And then, a bird of like rarest spun heavenmetal, or like silvery wine flowing in a spaceship, gravity all nonsense now, came the violin solo above all the other strings, and those strings were like a cage of silk round my seat. Then flute and oboe bored, like worms of like platinum, into the thick thick toffee gold and silver. I was in such bliss, my brothers!

Oh bliss! Bliss and heaven! Ludwig Van!

Great Music, it said, and Great Poetry would like quieten Modern Youth down and make Modern Youth more Civilized. Civilized my syphilised yarbles. But this does not apply to the climate cult gloopy ones. To devastate is easier and more spectacular than to create for them!

In Gold für die Kunst (Gold for Art), the annual listing of the “100 most influencial people in the art world” issued by the dims of the postmodern German art magazine MONOPOL, Letzte Generation was listed in the 19th position! Supposedly because the eco-vandals “emphasize the value of art for society.”

Ah my droogies, we can destroy what we have written, but we cannot unwrite it.

And so farewell from your little droog. And to all others in this story profound shooms of lip-music brrrrr. And they can kiss my sharries. But you, O my brothers, remember sometimes thy little Vallen that was. Amen. And all that.

______

Apologies to Anthony Burgess and his A Clockwork Orange.

No apologies to the gloopy Letzte Generation.

Tweedle-Dee & Tweedle-Dumber. Last Generation members at the Elbe Philharmonic Hall. Photographer unknown.

UPDATE: On Nov. 24, 2022, the German newspaper Junge Freiheit reported that the audience reaction to the Last Generation members disrupting the concert was intense. Catcalls of “Get out!” and “No!” were so loud the woman reciting the climate collapse speech had to stop because she couldn’t be heard.

In a separate report filed by a German Twitter user, the two eco-zealots had glued their hands to a detachable hand-rail that was part of the composer’s podium. When it was decided to remove the two from the stage, an orchestra attendant disconnected the rail from the podium, and with the disrupters still glued to the rail, used the rail as a leash to walk the culprits off stage. I include the photo of the two still glued to their leash after being ejected from the stage.

But it doesn’t stop there. Junge Freiheit went on to report that once the disrupters were kicked out of the Elbe Philharmonic Hall, Last Generation members video-taped the woman in a quiet room reading her speech in full. When the eco-zealot group released their video of the concert disruption, the vid was only 12 seconds long. That’s because the group edited-out the negative audience reaction, and replaced it with the speech made off-site.

Last Generation attacks Andy Warhol BMW

On Nov. 18, 2022, eleven members of the Italian eco-extremist group Ultima Generazione (Last Generation), invaded the Fabbrica del Vapore (Factory of Steam) art center in Milan, Italy to disrupt the exhibition Andy Warhol: The Advertising of Form. In particular, the vandals attacked a BMW M1 race car that Warhol painted in 1979.

Last Generation vandals dump flour on Warhol BMW, as art center guard in black attempts to stop them. Photo: Ultima Generazione.

The eco-vandals outnumbered and overtook the museum guards, and dumped 17 pounds of flour on the BMW. They also threw paint-filled balloons on the museum floor, after which a number of them sat down around the BMW to harangue art lovers with apocalyptic rants about the end of the world.

Unbelievably, after covering the car, floor, museum staff and art lovers in thick clouds of white flour, the fools of Last Generation attempted to glue their hands to the BMW as well as the concrete floor; an impossible task considering everything was covered with finely milled powder.

Sheesh, talk about incompetence—and these are the people who think they’re going to save the world. Museum guards literally dragged the blockheads out of the gallery and turned five of them over to the police. The authorities identified the culprits, but at the time of this writing there was no word on charges. The assault on Fabbrica del Vapore was the third vandalism attack mounted by Last Generation against an art institution.

Art center guard drags off vandal wearing “858 days left” T-shirt. Photo: Ultima Generazione.

One of the vandals dragged out of the gallery wore a T-shirt reading: “Ultima Generazione, We Have 858 Days Left.” That number of doom comes from environmental “studies” that assert we only have 858 days left to reduce “carbon emissions,” otherwise there will be planetary climate collapse.

Some readers of this blog may be too young to remember the legions of fanatics that prophesized the world would come to an end on Jan. 1, 2000, or what was popularly known as Y2K (Year 2000). It would be lights out for civilization—planes would fall from the sky, electricity and water systems would fail along with banking and food delivery. Except the end never came. Last Generation and all the other eco-zealot fundamentalists, are just the latest crop of doomsayers.

Proud of their temper tantrum, Last Generation zealots hold a “sit-in” around the vandalized BMW. Photo: Ultima Generazione.

The producer of the show, Stefano Lacagnina, said the vandals paid for entrance tickets, and had smuggled the bags of all-purpose flour into the museum by hiding them in their clothes. He commented on the vandalized car: “It is an important piece, which for the first time was exhibited and has great value—about 10 million. Now we don’t know what to do.” The exhibition closed temporarily in order to clean up the tremendous mess. The Ultima Generazione goons released a statement that in part read:

“8Kg of flour on the BMW painted by Andy Warhol. Works of art have been targeted in order to highlight the hypocrisy of our society’s values: do we really get outraged at the simulation of damage to works of art while the ongoing objective destruction of works of nature, ecosystems and our own lives leaves us indifferent?”

The Deputy Prime Minister of Italy, Matteo Salvini, condemned the vandals of Ultima Generazione; he said on Twitter: “Let them pay the damages and spend some time where they deserve.” The cultural engagement department of the German car manufacturer Bayerische Motoren Werke (BMW), also released a statement:

“Art is as priceless as it is untouchable. It belongs to all of humanity and reflects the great achievements of which each of us is capable. Andy Warhol’s 1979 Art Car is a unique masterpiece and we have no sympathy for a violent attack on the artist’s work defaced for many decades.”

In 1975 BMW worked with French race car driver Hervé Poulain in starting The BMW Art Car Project. That year Alexander Calder painted the first car for Poulain; who drove it in the 24 Hours of Le MansGrand Prix of Speed and Endurance race in Le Mans, France. Since then 20 artists have been commissioned to paint BMWs, including Frank Stella, Roy Lichtenstein, Ernst Fuchs, Robert Rauschenberg, David Hockney, and Jeff Koons. Artists picked for the BMW Art Car Project are selected by a panel of international judges. Andy Warhol would paint his BMW in 1979.

Most of the artists associated with the BMW Art Car Project are not my cup of tea, save for Ernst Fuchs (1930-2015), a Viennese artist who founded the Vienna School of Fantastic Realism. I insist that his brand of neo-surrealism was a precursor to the psychedelic aesthetic of the mid-1960s. As for Jeff Koons, he should be made to paint car bodies for the rest of life. But my liking or disliking an artist is not pertinent here, what is relevant is that barbarians can’t be allowed to rampage through museums and vandalize artworks.

BMW M1 Race Car. Painted by Andy Warhol in 1979.

Warhol used 13 pounds of paint to cover his BMW canvas; he supposedly painted the vehicle in 28 minutes. The Warhol car participated in the 1979 Le Mans 24-hour race, after which it was placed in a museum. BMW maintains a website exhibit of their BMW canvases titled: Wild at Art: The History of the BMV Art Cars. Thomas Girst, who has directed the Art Cars project since 2004, made a statement about the project:

“In the beginning the cars were raced. There wasn’t much of a public relations effort around them. Since then, some of the Art Cars have been used in advertisements to show that BMW is a player in the arts. With the Eliason work, part of what we are doing is raising awareness of alternative and renewable energy sources.”

Oh sure… I’m certain Ultima Generazione will be so impressed.

There’s no doubt the luddites of Ultima Generazione targeted Warhol’s BMW because they see it as an evil symbol of car culture and the wicked petroleum industry they revile. What’s puzzling about this particular infantile “protest” was their dumping flour on the car. Since eco-vandals kvetch about “climate collapse” being the cause of starvation and mass death, you’d think they might have concluded that baking loaves of bread would be a more productive endeavor.

Eco-Vandals Pour Oil on Gustav Klimt Painting

I have always been captivated by the art of Gustav Klimt, so I was enraged to hear that so-called “climate activists” had attacked one of his renowned paintings. On Nov. 15, 2022, two members of the eco-extremist group Letzte Generation Österreich (Last Generation Austria), raided the Leopold Museum in Vienna, Austria. One carried a 2-Quart rubber hot water bottle filled with viscous black oil; he kept it hidden beneath his shirt.

Last Generation Austria goons deface Gustav Klimt painting. Photo: Letzte Generation Österreich.

They entered the museum and quickly made their way to Tod und Leben (Death and Life), a painting created by Gustav Klimt in the early 1900s. The hoodlum with the hot water bottle pulled it out from under his shirt, unplugged it, and hurled the black oil onto the artwork (it was protected by a glass shield). As the oil dripped to the floor, the vandals prepared to glue their hands to the oily picture frame—a museum guard intervened; he wrestled with the offender who chucked the petroleum, and successfully removed him from the gallery.

That left the vandal who managed to glue himself to the painting’s frame—he was left bleating “Stop destroying humanity with fossil fuels. We are rushing towards a climate hell.” Another guard entered the room and tried to stop someone from video-recording the spectacle. Since the Last Generation gang uploaded a video of their assault on Klimt’s painting to their Twitter account, it can be assumed the videographer was also a member of Last Generation.

The Austrian police finally arrived and the eco-extremists were removed from the museum but not arrested. A police spokesman said the arrestees were considered subjects of “a complaint for material damage and disturbance of public order.” That should teach ‘em a lesson, eh?

On the day of the vandalism the museum was free due to the largesse of OMV, the Austrian multinational petrochemical company headquartered in Vienna. No doubt this triggered Last Generation Austria, who thought it appropriate to splatter their targeted painting with oil.

Leopold Museum guard struggles with Last Generation eco-vandal. Photo: Letzte Generation Österreich.

In the aftermath of their attack, Last Generation Austria released a Twitter statement regarding their criminal actions: “URGENT: Klimt’s ‘Death and Life’ in the Leopold Museum covered in oil. People of the last generation poured oil on the Klimt painting ‘Death and Life’ in the Leopold Museum today. New oil and gas wells are a death sentence for humanity.”

While Last Generation Austria boasted of having “poured oil on the Klimt painting,” corporate media hacks reported the “climate activists” were alleged to have poured: “liquid,” “dye,” “black paint,” “black liquid,” or a “black substance” on the artwork. It’s embarrassing that the media calls the culprits who sullied Klimt’s painting “climate activists,” but then, the once respected profession of “journalist” has became an embarrassment.

These “climate activists” are not engaged in non-violent activism, instead they pursue outright vandalism. Truth demands that they are accurately identified for what they are… eco-vandals. It should come as no surprise that the anti-art vandalism of these miserabilists has in fact decreased sympathy for their crusade. I fear they are evolving into the eco-terrorists of the future.

An odd thing about the eco-extremist war on art, is how the vandals make unschooled statements that attempt to link their acts with the art they deface.

When Just Stop Oil vandals glued themselves to a copy of Leonardo Da Vinci’s The Last Supper in London’s Royal Academy of Arts, they said climate collapse would bring famine and the last supper for the world. When Italy’s Ultima Generazione (Last Generation) glued themselves to the frame of Botticelli’s Spring in the Uffizi Gallery, they said climate collapse would keep us from seeing spring days. With Klimt’s Death and Life, their statement was oil is a death sentence for humanity.

The International Council of Museums (ICOM) located in Germany, reacted to the eco-extremist war on art by drafting a statement condemning the vandalizing of art museums for political causes. Directors of 92 major international art museums have signed the statement, among the signatories are The Metropolitan Museum of Art (New York), Gallerie degli Uffizi (Florence), and the Detroit Institute of Arts. The statement in part reads:

“In recent weeks, there have been several attacks on works of art in international museum collections. The activists responsible for them severely underestimate the fragility of these irreplaceable objects, which must be preserved as part of our world cultural heritage. As museum directors entrusted with the care of these works, we have been deeply shaken by their risky endangerment.

Museums are places where people from a wide variety of backgrounds can engage in dialogue and which therefore enable social discourse. In this sense, the core tasks of the museum as an institution – collecting, researching, sharing and preserving – are now more relevant than ever. We will continue to advocate for direct access to our cultural heritage. And we will maintain the museum as a free space for social communication.”

Gustav Klimt painted Tod und Leben (Death and Life) between 1910 and 1911, and later repainted and revised the work between the years 1915-1916. Klimt showed the work publicly for the first time at the International Art Exhibition in Rome of 1911, winning a gold medal for his creation.

“Tod und Leben” (Death and Life). Gustav Klimt. Oil on canvas. First painted between 1910 and 1911, the artist later revised the canvas between the years 1915-1916. Photo courtesy Leopold Museum.

Gustav Klimt was a founding member of the 1897 Vienna Session movement. Along and his fellow Secessionists they challenged the academic art of the day. In 1898 the group began publishing its own journal, Ver Sacrum (Latin for “Sacred Spring”). The journal advanced Secessionist ideas, and in its first issue the Austrian writer and playwright Hermann Bahr delineated their principles:

“Our art is not a fight of modern artists against old ones, but the promotion of arts against the peddlers who pass for artists and have a commercial interest that prevents art from flourishing. Commerce or art, that is the issue before our Secession. It is not an aesthetic debate, but a confrontation between two states of the spirit.”

Written in January 1898, Bahr’s pearls of wisdom reach into the present, they have become a maxim for thoughtful contemporary artists. I’ve seen a number of Klimt’s paintings over the years, and was always impressed by his “impasto” technique; paint applied by brushes heavy with paint and applied in thick brush strokes. It’s not easy to see this in reproductions, where his works appear smooth and polished. However, up-close his paintings are full of rough and aggressive textures, but always controlled by a masterful hand.

Detail of Gustav Klimt’s “Death and Life.” Photo: Steve Zucker/Smarthistory

In 2012 my wife and I visited the Getty Center in Los Angeles to see the exhibit Gustav Klimt, The Magic of Line; it was a memorable and popular exhibit. However, there was one historic oversight in the show I couldn’t get out of my head; it had to do with the Getty’s captioning of Klimt’s preliminary sketches for his Faculty Paintings.

In 1894 the Austrian Ministry of Education gave Klimt a commission to design ceiling paintings for the University of Vienna (founded in 1365). Klimt was asked to create paintings symbolizing Medicine, Jurisprudence, and Philosophy. The works became knows as the his Faculty Paintings. The University was outraged by the finished paintings, viewing them as pornographic. Klimt returned the commission money and sold off the three 13-foot-tall paintings. Eventually Philosophy and Jurisprudence would end up in the collection of Klimt’s patron August Lederer, and Medicine became part of the Austrian Gallery collection.

Detail of “Tod und Leben” by Gustav Klimt.

My wife noticed a discrepancy in the wall text caption for the displayed Faculty Paintings sketches; it said the paintings had been “destroyed” in 1945 but the exhibit book said the paintings were “burned in a fire.” No other details were mentioned… but what else happened in 1945?

The question of who destroyed the Faculty Paintings by fire, and why they did so, drove me to write a 2012 essay titled: Gustav Klimt: At The Getty.

My article details Austria’s 1938 invasion by the Nazis, and how they seized art treasures owned by Jews; the art collections of August Lederer and the Austrian Gallery were stolen by the Nazis. Many works by Klimt were included, not because he was Jewish (he was not), but because he cooperated with, and had an affinity for the Jewish people. Moreover, the Nazis condemned modern painting and sculpture as degenerate art, because, they said, it was influenced by Bolsheviks and Jews.

The Nazis hid a large part of their stolen art treasures in Immendorf Castle, located in Lower Austria. When Hitler committed suicide and the Soviet Red Army captured Berlin in 1945, the Nazi regime disintegrated. To prevent their stolen art from falling into the hands of their enemies, the Nazi SS set charges and blew up Immendorf Castle, the resulting fire obliterated the seized collections of August Lederer, the Austrian Gallery, the Museum for Applied Arts of Vienna, and many of Klimt’s works—including the three Faculty Paintings.

It’s a certainty the incurious eco-vandals of Letzte Generation Österreich are pig-ignorant when it comes to the Nazi confiscation and destruction of Gustav Klimt’s wondrous paintings and drawings. The ignoramuses of Last Generation without a doubt think themselves cleaver, virtuous, and morally justified in pouring oil on a Klimt masterpiece.

Regardless, people around the world when seeing that big, oily black splotch covering Klimt’s painting, will think of how the Nazis desecrated art and persecuted artists. I can’t see how Last Generation can avoid that comparison.

“They pursue outright vandalism.” Photo: Letzte Generation Österreich.

“The Scream.” Edvard Munch. Oil paint, pastel, tempera on cardboard. 1893.

UPDATE: On Nov. 11, 2022, three eco-vandals from the Norwegian group “Stopp oljeletinga” (Stop Oil Exploration), attacked Edvard Munch’s 1893 masterpiece The Scream housed at the National Museum of Norway.

Two vandals attempted to glue themselves to the painting while shouting “I scream for people dying” and “I scream when lawmakers ignore science,” while a third video-taped the assault. The three vandals were women from Finland, Denmark, and Germany.

Museum security guards prevented the vandals from gluing themselves to the painting’s frame; all three were arrested.

A spokes-goon for the group told the Associated Press, “We are campaigning against ‘Scream’ because it is perhaps Norway’s most famous painting.” Yeah, right… and this artist filing his report in Lost Angeles, says… “I scream against barbarians who vandalized art!