Erasing Arnautoff

A false narrative has been produced pitting “aging white male art historians” against “young people of color.” This narrative is doubly false as some of the murals’ most prominent defenders are not white; and there is evidence that many students do not want the frescoes removed.[3] Moreover, this narrative creates a false choice between art and the needs and aspirations of the exploited and oppressed. The question to be examined here is (at least) twofold: why has this false narrative come to dominate and, secondly, what lessons do these dynamics hold for contemporary socialist artists.

Read More