I think this poster speaks for itself, and it says volumes about the mentality of many of the most fervent Obamaphiles.
On Thursday August 6th, I was invited by the National Endowment for the Arts to attend a conference call scheduled for Monday August 10th hosted by the NEA, the White House Office of Public Engagement, and United We Serve. The call would include “a group of artists, producers, promoters, organizers, influencers, marketers, taste-makers, leaders or just plain cool people to join together and work together to promote a more civically engaged America and celebrate how the arts can be used for a positive change!”
Backed by the full weight of President Barack Obama’s call to service and the institutional weight of the NEA, the conference call was billed as an opportunity for those in the art community to inspire service in four key categories, and at the top of the list were “health care” and “energy and environment.” The service was to be attached to the President’s United We Serve campaign, a nationwide federal initiative to make service a way of life for all Americans.
It sounded, how should I phrase it…unusual, that the NEA would invite the art community to a meeting to discuss issues currently under vehement national debate. I decided to call in, and what I heard concerned me.
The people running the conference call and rallying the group to get active on these issues were Yosi Sergant, the Director of Communications for the National Endowment for the Arts; Buffy Wicks, Deputy Director of the White House Office of Public Engagement; Nell Abernathy, Director of Outreach for United We Serve; Thomas Bates, Vice President of Civic Engagement for Rock the Vote; and Michael Skolnik, Political Director for Russell Simmons.
We were encouraged to bring the same sense of enthusiasm to these “focus areas” as we had brought to Obama’s presidential campaign, and we were encouraged to create art and art initiatives that brought awareness to these issues. Throughout the conversation, we were reminded of our ability as artists and art professionals to “shape the lives” of those around us. The now famous Obama “Hope” poster, created by artist Shepard Fairey and promoted by many of those on the phone call, and will.i.am’s “Yes We Can” song and music video were presented as shining examples of our group’s clear role in the election. Continue to Article Here
Another story not making the evening news is that of artist Patrick Courrielche, who has shown that the National Endowment of the Arts is seeking to use government funds to promote Obama administration initiatives. On Sunday’s “This Week,” George Will pierced the mainstream media veil. “Recently there was a conference call arranged by the National Endowment for the Arts, with a representative of the White House, for potential grantees or actual grantees of the federal government, getting subsidies – the theme of it was how the arts community could advance the president’s agenda. Now I don’t know how many laws that breaks, but I am sure there are some.”
What are you waiting for, Katie Couric?
If the mainstream media continues down the path of covering up the sins of the Democratic Party and the Obama administration, in particular, while it continues to exert its still powerful weapons to destroy those who would dare do their jobs for them, then eventually, perhaps in the near future, those “mobs” that have befuddled the Democratic Party at health care town halls and at tea parties will take their pitchforks to media row.
When the next big scandal hits – and it will, and it most certainly won’t come from traditional journalism – all eyes will be on “Pinch” Sulzberger to see if he does his job. All eyes are on the media. We are judging them by the standard they taught us during Watergate: “The cover-up is worse than the crime.”Full Article Here
[Now] Consider the recent flurry of debate over the Obama “Joker” posters that have been appearing in Los Angeles. This image represents the only substantial counterpoint to Obama’s current agenda from the art community. What’s been the response?declared of the image, “The only thing missing is a noose.” Philip Kennicott of The Washington Post stated, “So why the anonymity? Perhaps because the poster is ultimately a racially charged image.” Bedlam magazine, the first to comment on the poster back in April, argued, “The Joker white-face imposed on Obama’s visage has a sort of malicious, racist, Jim Crow quality to it.” Why would any artist who hopes to have (or keep) a career create images that criticize the president when both journalists and art reviewers make such irrational comments? To give some perspective, remember that the “noose” comment came from a publication that once presented a cover image of George W. Bush as a bloodthirsty vampire. Full Article Here
One writer from the LA Weekly