Collaboration between art and government sometimes breeds conflict. The postponement of a Mesa, Arizona, art exhibition over a perceived anti-police work by artist Shepard Fairey is the latest in a recent series of conflicts in city-run art shows.
“I’m happy to walk away from that situation,” said Marcus, who sent some of the paintings intended for the show to other venues after the postponement. “I think artists working with institutions in general should be very cautious and wary of how they move forward. Artists are the ones that ultimately should hold the power because there wouldn’t be institutions or museums or galleries without the artists.
Fairey is widely known for his Barack Obama “HOPE” poster. His painting that led to the suspension of the Mesa art exhibit, titled “My Florist is a Dick,” is seen by some as anti-police. It depicts a police officer in riot gear holding a baton with a flower growing out of it. The phrase ‘when his day starts your days end’ appears at the top right of the painting.The uproar has prompted the city of Mesa to stop and reflect.
According to the city of San Mateo, neither city staff nor the committee that oversees art displays had a chance to see a lot of the paintings beforehand, including several works “with a variety of strong political connotations.” Members of the public and city employees across departments expressed concerns after the exhibition was erected.
Elizabeth Larison, of the National Coalition Against Censorship, said clashes over art in municipal spaces are actually quite common. Curators, museum directors and even artists wrestle with the pros and cons of displaying artwork that is likely to provoke negative reaction. “It’s a pretty high bar,” Odenkirk said. For example, she said, a city might say, “‘We can’t have instructions on how to make a bomb displayed because there’s a compelling government interest in not teaching people how to make bombs.’”
Larison, of the Coalition Against Censorship, advises any institution to have a plan in place not just for selecting artwork but for managing the reaction to it, through public relations strategies such as community panels. The goal is to have some kind of dialogue.
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