Censorship by the Museum of Contemporary Art

whitewash
Blu’s mural being whitewashed

Unwavering from the principle purpose of street art, the mural’s inability to be controlled incited the censorship of Blu’s art, and the attempted justification serves to hide the museum’s lack of control. Despite prior knowledge of the wall’s location and the influence it would have on Blu’s ideas, museum director Deitch alone decided the mural was inappropriate for the area due to its proximity to a Veteran Affairs hospital and the Go For Broke monument honoring Japanese-American soldiers in World War II. Interestingly enough, the inscription on the monument apologizes for the internment of Japanese-American citizens as a response to the bombing of Pearl Harbor. Just as Blu’s censored mural contained anti-war themes, the war memorial maintains its own themes against the arbitrary actions of the American government during times of war. Even with a full understanding of Blu’s common themes against war and corporate greed, and especially his artistic process specifically involving coordination with the area, Deitch cited the Go For Broke monument as his main justification for the censorship of Blu’s controversial mural. Although the intention of the artist can be misconstrued, not a single person complained or asked for the removal of the mural, as the intention of the mural seems clear.(2) The depiction of controversial street art, especially as commissioned by the Museum of Contemporary Art and only exhibited temporarily, warrants no such censorship as justified by the museum director. Instead, the misinterpretation and presentation of unpopular opinions in street art justifies the censorship of an uncontrollable medium of public protest.

2. Vankin, Deborah. “Blu Says MOCA’s Removal of His Mural Amounts to Censorship.” Los Angeles Times. Los Angeles Times, 15 Dec. 2010. Web. 28 Nov. 2016.

 

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