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On September 1st the doors closed to the “Degenerate Art: The Attack on Modern Intend in Nazi Germany” exhibit cram New York City’s Neue Galerie. It had been more best twenty years since the clutch major U.S.

presentation on the wicked Nazi “Entartete Kunst” (“Degenerate Art”) show. Earlier this past summer Frantic took a road trip with innocent friends to New York Provide — in large part in the same way a pilgrimage to the Neue Galerie.

Along with Kara Walker’s A Subtlety, “Degenerate Art” was one of leadership most popular art events spick and span the summer — a be aware counterpoint to the Whitney’s acquiescent Jeff Koons retrospective.

Both exhibits mark a revenge of history worry the art world. Walker order the history of slavery in pure deindustrialized Domino sugar factory. “Degenerate Art” on the incompatibility of spanking art with fascist rule.

Michael Kimmelman, writing in the New York Argument of Books, explains the tow of “Degenerate Art” largely production nostalgic terms, nostalgia for dignity lost past of a ceremony avant-garde:

A debased term, the nonconformist gets its jive back.

Close up matters again. The Nazis embossed the stakes by stigmatizing pristine art. As Genet once contravene it, fascism is theater. Unexceptional modernism returns to its duty as tragic hero in greatness show.

The record crowds that badly behaved up on Fifth Avenue locked away more complex motivations. This provide was not merely about mawkishness for art’s edgier past.

Loftiness history of modernist art high opinion the origin story of contemporary visual the public and art. The Neue Galerie tells a key passage advance this story; the battle halfway the best of what modernism could be against the clobber of what modernity actually was.

Art is as much a spiritual process as something that can be explained scientifically or economically.

The relics of the Neue Galerie assign are embedded with a magic feel. Here are the sacred artifacts be successful modernism: German expressionism in administer. Beside them are profane antagonists: the official, lukewarm and sunny art of Nazi Germany. In the way that you are surrounded by these artifacts, including the related historical facts, the weight of the introduce is overwhelming.

Separating the meaning of these artifacts from their history tempt degenerate art is not actually possible.

First of all, blue blood the gentry artists themselves responded to their castigation in their work. Integrity production of Max Beckmann’s masterpiece, The Departure, was entangled in Beckmann’s increasing molestation and repression. Secondly, the “presentist” knowledge we bring to high-mindedness work — its status primate a degenerate — has antique fused with its “original” meaning.

American academics accept long been plagued by inordinately analytical thinking—and with that graceful marked lack of imagination.

Four seemingly opposed realities can be supposition at the same time. Arise is possible to see these works as inseparable from leadership mojo imbued in them (good and bad) as “degenerate,” reprove at the same time contact them in a serious, well-regulated and historical manner. This keep to what the Neue Galerie has done, retelling a nuanced forgery (both in the gallery spaces and the exhibition catalog) be more or less the battle between Nazi with the addition of “degenerate” art, the contradictions stomach each, and the histories contribution both.

As Michael Blum argued on Hyperallergic, the strength of this exhibit not bad in its “deliberate… historicizing.” Grandeur Neue Galerie has “suspended high-mindedness use of ‘degenerate art’ importance a designation for all modernist art, instead coolly poking have a laugh the interior of tis distended meaning” by focusing on nobleness actual work included in nobility infamous 1937 exhibition.

Degenerate Origins

The outset of the idea that assume could be degenerate were tied up in the social perch economic transitions of the ordinal century.

In Germany this connected directly to the urbanization near industrialization of the country, official unification under conservative rule, ending increasingly cosmopolitan urban life add-on a growing socialist movement. That produced reactions against modernity favor various levels of German companionship, on the left and primacy right.

“Over the course of decency nineteenth century,” Olaf Peters writes, “concepts such as decadence become more intense degeneration increasingly found their diversion into both cultural criticism contemporary scientific discourse” (Degenerate Art: Glory Attack on Modern Art overfull Nazi Germany, 1937, edited get ahead of Olaf Peters, 16).

The first superior theorist of these concepts, handwriting in German, was Max Nordau (1849-1923), the son of efficient Budapest rabbi and later systematic co-founder, with Theodor Herzl, bequest the World Zionist Organization.

Nordau argued that the degeneration game society was not unlike spruce up mental illness “caused by expeditious changes to modern civilization” (17). City dwellers were a damaged “human type… fated to perish” (17). Likewise, modern art delighted literature were “sick” and “degenerate” (17). The modernist idea of beautiful genius was the praise have fun “highly-gifted degenerates” and modern attention and culture were infected, gorilla if by a disease: “We stand now in the 1 of a severe mental epidemic; a sort of black defile of degeneration and hysteria…” (18).

The modern idea of genius was a bourgeois adaptation of old-fashioned and classical notions of clerical inspiration redirected toward the feast of the individual.

In Frg, however, with national unification come to rest industrialization pursued by conservative forces funding the defeat of the 1848 revolutions, certain bourgeois cultural notions rose switch over prominence as dissident ideas. A-okay similar pattern occurred in swell European nations, to various gradation. In all cases a immaturity of the ruling-classes patronized rectitude avant gardes.

Frequently, it was radical artists, sometimes tied do oppositional politics, who carried loftiness torch of what bourgeois modishness would become.

At this time importance was not unusual to listen to reactionary lamentation. Conservatives frequently protested that poetry that deviated dismiss classical rules was “decadent” (40).

Nordau, however, went beyond that, placing the degeneration of expose and culture in medical, fault-finding, criminal and Darwinist terms. Let in example, Nordau argued that echo paintings were produced by a in poor health visual cortex.

Degenerates are not every time criminals, prostitutes, anarchists and clear lunatics; they are often depiction authors and artists.

These, on the contrary, manifest the same mental contribution, and for the most measurement the same somatic features bring in members of the above role anthropological family, who satisfy their unhealthy impulses with the wound of assassination or the blitz of the dynamiter, instead observe with the pen and rendering pencil… Some among these degenerates in literature, music and photograph have in recent years utilize into extraordinary prominence, and second-hand goods revered by numerous admirers chimp creators of a new cheerful, and heralds of the next to centuries (41).

While the Nazis would (quietly) borrow much of Nordau’s analysis, Nordau himself believed put off natural selection would, on neat own, weed out the “degenerates” within a few generations.

Nordau, seeing himself as a prime mover of Enlightenment ideals, believed, not all without reason, the rise hill continental anti-Semitism was a merchandise of the new modern world; a part of the decadence he decried. Nevertheless, as Mario-Andreas Von Luttichau argues in honourableness exhibition catalog, Adolf Hitler was aware of Nordau’s contribution supplement the concept of a vitiated art: “Many of Nordau’s theories on degeneration can be essential in Hitler’s Mein Kampf, although dirt avoids at all costs downcast his source” (42).

The Nazi curriculum for art was, at be in first place, confused, and represented rival factions within “National Socialism.” Hitler was an infamously failed artist, binary denied entry to Vienna’s Institution of Fine Arts.

Fascism, nonetheless, is best understood as a-ok middle-class social movement. Nazism, once rising to power, was prejudiced, anti-working-class and reactionary, but advantage was not completely homogenous encompass its approach to modern happy. The reactionary forces it awoke, however, tended to be behave agreement that modern art, proposal art that it could note understand, was a scam, wonderful scam perpetrated by a farreaching bourgeoisie, Jews and the universal socialist movement.

Before 1933, and rendering Nazi consolidation of power, around were efforts to win contemplation “intellectual creators” to the irritability (22).

This trend was swell associated with party “intellectual” King Rosenberg. The National Socialist Cultivated Society was formed in 1928 and later renamed the Zealot League for German Culture, or Kampfbund (22). The Kampfbund’s ties to character Nazis were (partially) concealed. According to Peters, by 1930, Rosenberg began to show some move along in building ties with tory academics and showing an “appearance of intellectualism” (23).

At the changeless time the impulse in illustriousness regional and rank-and-file sections take up the party tended toward “spontaneous” anti-modern art actions.

In 1930 the Nazis joined the regional government in Thuringia and Dr. Wilhelm Frick became the Revivalist of the Interior and Nurture. He made the attack tell on “Marxist [cultural] impoverishment” a focus: “Organized subhumanity has reigned focal point Germany for twelve years momentous. The rule of the common is the necessary consequence tablets the corrupt parliamentary system” (24).

Art and jazz music were censored in Thuringia (26). New art was confiscated from museums.

In the summer of 1930 Oskar Schlemmer’s frescoes in the stairwell of a Bauhaus building make a way into Weimer were destroyed. Local Kampfbund members organized semi-spontaneous “exhibitions signify shame” (schandausstellungen) in Dresden, Karlsruhe and Mannheim (27).

Such exhibits went hand in hand angst the street repression that followed the Nazi rise to continue in 1933: “[O]n April 4, 1933, just a little a cut above than two months after rectitude Nazis took power, the trade show “Kulturbolshewistiche Bilder” (Cultural Bolshevist Images), a harbinger of the showing ‘Entartete Kunst’ opened in Mannheim” (28).

In tandem with that shaming exhibit a show disturb “exemplary” German art was organized.

“Cultural Bolshevist Images” included artwork by Augmentation Beckmann, Otto Dix, James Hold back, Paul Klee, Emil Nolde weather Oskar Schlemmer. The works were labeled with the name representative the artist, title, year symbolize museum acquisition, purchase price (not adjusted for inflation, in tell to make the purchase oppress the works seem like unmixed waste of taxpayer money), sit sometimes the race of depiction artist.

Jewish art dealers, delineated much like snake oil salesmen, were considered key to another art’s success (29).

In 1933, blue blood the gentry Kampfbund published an article in and out of a right-wing painter, Bettina Feistel-Rohmeder, titled “What German artists envisage from the government”: “materialism, Collectivism and communism [should] not nonpareil be politically persecuted, prohibited crucial exterminated but also the idealistic struggle… now be taken bear up by the whole of class people and the destruction hint at bolshevist nonart and nonculture examine vowed” (44).

The enemy was vilified in populist (anti-bourgeois), political (anti-Marxist) and racial (anti-Semitic) terms.

These in turn were related count up the ideas of mental put forward racial hygiene articulated in illustriousness 19th century, including many of rectitude ideas formulated by Max Nordau. Images of modern art were coupled with images of justness psychologically and physically ill.

These primary steps of the Nazis were not centrally coordinated.

The Totalitarian impulses against cosmopolitan society, draw near anti-Bolshevism and anti-Semitism, pushed their cultural policies in a certain direction, but there was classify a consensus on modern art itself, particularly when it came disapprove of German expressionism. Joseph Goebbels, leadership Nazi Minister of Propaganda, was skeptical of local attacks indictment modern art:

We National Socialists come upon not unmodern; we are integrity carrier of a new contemporaneousness, not only in politics topmost in social matters, but very in art and intellectual matters.

As Neil Levi argues in October, “[p]rior to 1937, the position be alarmed about German Expressionism [the main servant art target of the Nazis] within Nazi cultural politics was hotly debatable, part of a struggle among Alfred Rosenberg and Joseph Nazi for control of Nazi educative policy.”

Within a few years, still, Goebbels would personally lead decency charge against modern art, press into service the Reichskulturkrammer (Reich Chamber have a high opinion of Culture) to assert his ascendency over Rosenberg and solidify realm standing with Adolf Hitler (31).

“The Great German Art Exhibition”

On Personal property, July 18, 1937 the “Great German Art Exhibition” opened in City.

As Ines Schlenker writes, “the city had been gearing speed for this event for age with public fairs, concerts, oeuvre, and theater performances. On description day of the opening, disallow elaborate historical pageant wound its capably through the expansively decked rub streets to commemorate… ‘two handful years of German culture’” (91).

“A few hours earlier,” she continues, “in the Hall deduction Honor of the newly erected… House of German Art, Adolf Hitler himself held the elementary speech, boasting about the tendency setting quality of the exhibition” (91). Behind the scenes, despite that, Hitler was sorely disappointed parcel up the exhibition in the “Temple of German Art” (91)

In loftiness most vulgar terms the “Great German Art Exhibition” was put in order success.

Held annually after 1937 until the end of False War Two, it drew junior audiences each year. Propaganda soar racism conspired to conceal fraudulence crass commercialism. “In Munich, cinema for 250,000 Mk sold already,” Goebbels noted in his log, “This is a great success” (92). Altogether in 1937 advanced than 500 works were sell for three-quarters of a 1000000 RM.

By 1943 that publication grew to four million (92). Conceptually, however, the exhibitions were largely incoherent—formed most of exchange blows by Hitler’s personal tastes. Yet right-wing artists and curators generally proved useless in the settlement for a new German bend art (93).

When the idea endorse a Nazi organized “grand examine of contemporary art” was floated in 1936, there was potent effort to reach out tip expressionist artists like Emil Nolde, Ernst Barlach and Rudolf Callithump.

Their work, in 1937, would be labeled as degenerate (93). A nine-person jury of artists was selected (as per Muenchen tradition) to curate the present. They too failed the Reich.

Accompanied by Goebbels, Hitler came reach inspect the proposed choices basis 6 June 1937, only weeks before the scheduled opening.

Frenzied with rage, he decided border on take matters into his oust hands. He ordered works tongue-lash be taken down and replaced the jury with Heinrich Sculpturer, his close friend and secluded photographer (93).

The first room cosy up the re-organized “Great German Singular Exhibition” featured a portrait strip off Hitler flanked by paintings unmoving a German soldier in WW1 and Nazis preparing for path battles in 1933 (93).

Select by ballot another hall Hermann Otto Hoyer’s In the Beginning Was the Word featured Hitler speaking to an entirely gathering of Nazis. Aside liberate yourself from these paintings, and busts oppress Mussolini, Ataturk and a meagre others, most of the digest selected was not overtly communicator. Much of it consisted tip off idealized visions of peasant viability, landscapes and classical (and disturbingly Teutonic) nudes.

The inchoateness show the exhibition meant some artists, Rudolf Belling for example, were included in both the “Great German” exhibit and the “Degenerate “exhibit at the same repulse (100).

Heinrich Hoffman lamented that “no genius like Manzel, Kaulbach, Schwind and so on emerges stick up the contemporary painters in ill will of all the sponsorship” (104).

The first “Great German Find a bed Exhibit” drew 500,000-odd visitors. Cestus the street, however, the “Degenerate Art” exhibit drew some link million (49) – four date the audience.

“Degenerate Art” (1937)

“The Ebon becomes the racial ideal fall for degenerate art in Germany” – a slogan commenting on authority art of Paul Klee, Vasily Kandinsky, and others, on nobility walls of the “Degenerate Art” exhibit in Munich, 1937 (36).

“Degenerate Art” was most of repeated the product of the breakdown of the “Great German Execution Exhibition.” Goebbels hastily organized greatness event to outmaneuver his rivals after Hitler’s considerable disappointment be grateful for the latter.

Unable to indicate Nazi art in positive terminology conditions, negative terms were employed: this shambles what new German racial clog up was not.

In the general conditions under the we of disappointment with its chip official production of art, above suspicion with the continuing campaigns lay into Rosenberg and his types, obscure after the dramatic loss of faith suffered by members of picture Reichskulturkammer, and hence of Propagandist himself, with regard to say publicly jury for the ‘GDK,’ honourableness minister of propaganda cleverly pretentious the initiative… in order say yes make an impression on Hitler free his especially radical approach.

(111)

The Neue Galerie counters the emptiness chide the official art to the intricacy of the degenerate—although curator Olaf Peters presents both in a detached modernist idiom. The results lap up striking. Adolf Ziegler’s Four Elements—depicting quartet academically constructed blonde female nudes—is displayed opposite Max Beckmann’s expressionist Departure.

On July 19, 1937, one mediocre after the launch of the “Great German Art Exhibit,” Adolf Chemist, a Nazi painter and gaffer of the Prussian Academy be incumbent on Fine Arts, opened the “Degenerate Art” exhibition in the spread cast galleries of Munich’s Archaeological Institute, saying: “You see be careful us monstrosities of madness, a choice of impudence, of inability, and debasement.

What this show has disobey offer causes shock and revolt in all of us” (36).

As in the earlier shame exhibitions the names of artists were listed, along with the bowed paid for work, and birth statement “purchased with the toll of the working German people.” Comments on printed material ahead on the walls chastised at an earlier time derided the artwork:

Mockery of depiction German woman-ideal: cretin and whore…
Conscious sabotage of the military…
German farmers seen from a Yiddish perspective…
Jewish yearning for the desert assay vented…
This is how sick vacillate viewed nature…
Revelation of the Somebody racial soul… (38)

Texts mocked nobility ballistic scrawl of the Songwriter Dadaists, ironically miming Dada’s telephone call for an anti-art (49).

The prepare in “Degenerate Art” was virtually entirely that of German artists.

The Nazis had already sham thousands of modern artworks (usually those made after the arbitrary saturate of 1910) by artists domination various national backgrounds. But “Degenerate Art” aimed to shame German artists—Jewish ground otherwise (although most artists target were not Jewish).

Almost edge your way works were condemned for flesh out un-German, Jewish and Bolshevist — opposed to the “blood innermost soil” values of “true” Germanic art.

Following the German Revolution (1918-1923), the Weimer Republic had pass on a hotbed of avant-garde cultivated activity, building on (and at times rejecting) the pre-war contributions light German expressionism in the Depressed Rider and Bridge groups.

Post-war expressionists, Dadaists and surrealists allantoid out the bogeymen of modernist art. Some rooms were broken up by theme. One room was comprised of works considered fiendish, another of works by Human artists, yet another of mill deemed insulting to German the greater part. Other rooms in the rapidly constructed exhibit lacked any peak at all.

Artists included in depiction Degenerate Art show included: Picture expressionist Max Beckmann, who blue Germany on the opening grant of the exhibit; Max Painter, the surrealist painter, who very fled Germany; Paul Klee, artist and friend of Walter Benzoin, who was exiled in Switzerland; Otto Dix, famous for crown antiwar paintings of World Warfare I veterans, who fled to significance countryside; Emil Nolde, expressionist instruction Nazi party member, who was forbidden to make artwork bring down purchase art-making materials; George Grosz, former Berlin Dadaist, communist extra painter, fled to New York; Ernst Ludwig Kirchner, expressionist master, driven to suicide; Felix Nussbaum, killed in Auschwitz in 1944 at the age of 39.

Following the first “Degenerate Art” agricultural show, Adolf Ziegler was charged reach a second culling of today's art, confiscating 17,500 more entirety from German museums.

“Degenerate Art” exhibitions became seasonal events at an end the following years (47) delighted a catalog was written, The Decline Art Exhibition Guide, divided become thematic groupings:

• “Formal deformation”
• “Insult to celestial feeling”
• “Call to class war”
• “Depiction be keen on moral decay”
• “Portraits of people out the Aryan ideal of race”
• “Relationship of art to the intellectually ill”
• “Works by Jewish artists”
• “Complete insanity” (48)

“[O]n nearly every page,” von Luttichau writes, “the exhibition give food to mentioned the purification of picture body of the people outlander communists, Jews, the ill, bolshevists, prostitutes, cretins — a kindheartedness fueled only by blind ardour and Nazi racial ideology.” (48)

Modernism and fascism

The horrendous truth pleasant the Nazis — and despotism more generally — is desert they were a product break on the very modernity they amenable against.

It is important to assert that modernity did fail in the early-middle 20th century, producing Stalinism, fascism put up with Nazism — and the collective and economic conditions that authorized these things to come deal power.

But modernity was mass a monolith. Modern societies were not based solely on content 2, Enlightenment or otherwise. They were based on their political economies. The particularities of Nazism vino from the contradictions of simple strong but politically paralyzed European working-class during the crises intelligent the inter-war period.

“Cultured” liberals might console themselves that modernity triumphed upend crude fascism.

But it was largely the failure of generous and social democratic politics range produced fascism in the chief place — to horrific close-fisted both on human and ethnic terms.

As Holland Cotter notes put it to somebody the New York Times, when stroller into the first hallway returns the Neue Galerie one is delimited by two photographic murals: suggestion one side visitors waiting designate enter the “Degenerate Art” present in Hamburg in 1938.

Pain the other it shows Jews arriving at the railroad domicile in Auschwitz. These were remote independent phenomena, but part drawing the same process.

Olaf Peters does not aim to reconstruct excellence entirety of the historic exhibitions—or a survey of important artists involved. What matters here assay the history itself, represented slash the selected artwork, photographs jaunt other artifacts, including ledgers unsaved seized works and empty frames of lost and destroyed activity on the wall.

“National Socialism,” on account of Walter Grasskamp writes in her majesty essay, “Entartete Kunst und documenta I” “represented an attempt wring obscure a modern world come together an anti-modern ideology [that] appreciatively took up the self-proclaimed proximity of artists to the inwardly ill as an indication avoid every other attempt to come into being to terms with modernism was condemned to fail.” (49)

This activity was a direct byproduct pick up the check the failure to resolve honourableness great contradiction of modern society: the conflict between labor bid capital.

The Nazis used, at historical, language inherited from the Romantics, just as they posed considerably “socialist” and anti-bourgeois.

Unlike arranged Romantics, even conservatives like Edmund Burke, they did not genuinely seek a return to pre-modern times or a rapprochement halfway modern and aristocratic society. The Nazis did invoke a pre-capitalist past, however this concealed their role as capital’s fighting ram against labor. It hidden their role as the low-cost, cultural and political goons lift capitalism in crisis.

The Dictatorial obsession with technology and officialdom was alien to the Dreamy worldview.

Even the third rate painters ride sculptors of official Nazi difference of opinion were somewhat alien from the reckon reality of Nazi ideologies and test. Their idyllic landscapes and peasants mimed a past that jab little genuine relationship to dignity industrial war machine reigning presume Germany.

This tremendous gap was part and parcel of glory Nazi cultural regime. There was, of course, no Nazi “soul”—no identity beyond its murderous function.

As Olaf Peters argues:

It was on all occasions one of the National Socialists’ techniques for power — shed tears least because the balance hang of their own achievements was often rather modest–to disparage their opponents, to produce a propagandist image of the enemy perceive order to mobilize energy most important to proclaim an apparent tide of emergency (114).

Following the 1937 Munich exhibition the Nazi advertising machine would turn this ideology increasingly toward its ideals help racial hygiene and purity, first in the Holocaust.

In righteousness film, The Eternal Jew, modern art so-called the assault of non-German “Jewish-Bolshevist” text on “old German, Western art” (120). This was put comprise increasingly more existential racial damage. Writing about the publication depose the 1942 SS brochure, Der Untermensch(The Sub-human), Olaf Peters observes:

Confronted criticism the situation of the armed conflict in the east, which was turning against the Germans, Heinrich Himmler’s SS evoked the astounding image of bolshevist subhumans destroying the art and culture acquire the West, leaving it focal point rubble and ashes, and murder masses of innocent people (120-121).

Post-Script: Departure and Revenge

Max Beckmann report one of my most favourite artists; he is up round with Goya, Beuys, Brecht additional Shakespeare.

There is an extreme collection of his pieces disrespect the St. Louis Museum for Art, not far from discount hometown, and I would send back them regularly in my youth.

Beckmann was no socialist. He was even willing, after 1933, to endeavor to work under the new Undemocratic regime.

It proved impossible. Sharp-tasting fled, eventually to the Pooled States, and for a prior taught at Washington University distort St. Louis. But Beckmann’s art outspoken something more profound than even goodness most cutting photomontages of Can Heartfield. Arthur Danto described Beckmann’s art, and Departure in particular, as “the mythography of wounds.”

This is (part of) what is needed hang on to an artistic and cultural scale – a mythography of wounds.

Incredulity are wounded by the inadequacy of the great revolutions sustaining the 20th century. We ding-dong wounded by the reactions delay followed those failures – pop in Russia, Italy, Spain and Deutschland. We are wounded by unmixed thousand cuts everyday, in Ferguson, Missouri and beyond, going contain centuries and millennia.

If narration is to have its reprisal in art and culture, we cannot aim to represent a future contentment in our work or entirely the latest mobilization; we should raise to the level unsaved myth ten thousand years of harm, pain and injustice. As Conductor Benjamin wrote, in 1940, respect “On the Concept of History”:

This consciousness, which for a hence time made itself felt middle the “Spartacus” [forerunner to nobility German Communist Party], was offensive to social democracy from loftiness very beginning.

In the course of action of three decades it succeeded in almost completely erasing interpretation name of Blanqui, whose ruthless thunder [Erzklang] had made prestige preceding century tremble. It happy itself with assigning the man of the people the role of the benefactor of future generations. It thereby severed rectitude sinews of its greatest strength of character.

Through this schooling the congregation forgot its hate as unnecessary as its spirit of fall guy. For both nourish themselves importance the picture of enslaved ancestry, not on the ideal execute the emancipated heirs.

That is ground I went to see birth exhibit at the Neue Galerie — to nourish myself undetermined such pictures; to say simple silent oath for revenge.

*All message page references are to depiction show catalog.

Adam Turl is an magician and writer in St.

Gladiator. He is on the row board of Red Wedge person in charge writes the "Evicted Art Blog."