Larry Cuban posts here an opinion piece that appeared originally in the New York Times about a decision by the San Francisco School Board to paint over (and thus destroy) a Depression-Era mural that is highly critical of the U.S.
The artist Victor Arnautoff was a Russian immigrant and a Communist. His mural “Life of Washington” depicted George Washington and other Founding Fathers in a very negative light.
The 13-panel, 1,600-square-foot mural, which was painted in 1936 in the just-built George Washington High School, depicts his slaves picking cotton in the fields of Mount Vernon and a group of colonizers walking past the corpse of a Native American.
The School Board decided that the mural was offensive to Native American and African-American students. And they voted not to cover the mural but to paint over it so that it would be utterly destroyed and never seen again.
These and other explanations from the board’s members reflected the logic of the Reflection and Action Working Group, a committee of activists, students, artists and others put together last year by the district. Arnautoff’s work, the group concluded in February, “glorifies slavery, genocide, colonization, Manifest Destiny, white supremacy, oppression, etc.” The art does not reflect “social justice,” the group said, and it “is not student-centered if it’s focused on the legacy of artists, rather than the experience of the students.”
And yet many of the school’s actual students seemed to disagree. Of 49 freshmen asked to write about the murals, according to The Times, only four supported their removal. John M. Strain, an English teacher, told The Times’s Carol Pogash that his students “feel bad about offending people but they almost universally don’t think the answer is to erase it.”
So the school committee voted to condemn a work of art that acknowledged and by doing so condemned “slavery, genocide, colonization, Manifest Destiny, white supremacy, oppression, etc.”
This action by the School Board is nuts.

Sounds like it is really trying to appease the the Trump mentality.
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Understanding our history—the good, bad and in-between—is essential if one is to develop a healthy sense of civic virtue in order to be a citizen in a participatory democracy. I have not sung the national anthem or recited the pledge of allegiance since I was in high school not because I don’t value my nation, but precisely because I do. I am always stunned by the sheepish, vacuous way I see people recite them. I’d much rather have a Quaker-ish reading of a section of the Constitution or discussion of a historical episode followed by a discussion or moment of reflection. Blind recitation of anthems and pledges–especially when most of those doing so cannot cite anything in the Constitution beyond a willful misreading of the 2nd amendment or have little understanding of how we got here—strikes me as being too close to authoritarianism or totalitarianism. I had a friend years ago who taught comparative government at a German gymnasium who said the most predictably controversial picture in one of his texts was one of a school class standing and reciting the Pledge. “That’s just what the Nazis did,” was the almost universal response of his students.
Acknowledging our sins and mistakes and constantly striving to not repeat them is among the most patriotic acts in which we can engage to make our country stronger, more accountable, and leaving something better for the next generation. As a side note, as Timothy Snyder points out in his book Bloodlands, Manifest Destiny served as an inspiration to the Nazi concept of Lebensraum. Books like Douglas Blackmon’s Slavery By Another Name ought to be taught in every high school and college US history class. And murals like the one being covered up should be preserved and used to create meaningful lesson plans. They are more American than any idiotic fireworks display.
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Greg, AMEN!
Jim Crows want to rewrite history.
Diane wrote it: “This action by the School Board is nuts.” YES…NUTS.
And YAY…it rained in D.C. yesterday. Thank you, RAIN.
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A corollary that underscores the hypocrisy about those who feel one should ignore past wrongs is that Christians claim that the path to redemption can only be achieved by repenting sins. Why is it that so many Catholics who go to confession and so-called evangelical Protestants who are “born again” can’t—won’t—understand this?
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“The School Board decided that the mural was offensive to Native American and African-American students”
Yes, of course, because they if all people, want everyone to forget what was done to them
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Amnesia and patriotism go hand in hand. Kurt Tucholsky had many good quotes that fit your observation:
„Ein skeptischer Katholik ist mir lieber als ein gläubiger Atheist.“ (“A skeptical Catholic is more preferable to me than a devout Atheist.”)
„Nichts ist schwerer und nichts erfordert mehr Charakter, als sich in offenem Gegensatz zu seiner Zeit zu befinden und laut zu sagen: Nein.“ (“Nothing is more difficult and nothing demands more character than to find oneself in open opposition in one’s own age and loudly proclaim: No.”)
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It reminds me of the Rockefeller-Diego Rivera dispute about Rockefeller Center’s murals. Rockefeller hired a communist, but the capitalist rejected the subject matter that was unflattering to capitalism. The famously rejected “Man at the Crossroads” painting will appear in the Palacio de Bellas Artes in Mexico City.https://www.npr.org/2015/02/24/387310019/daughters-back-an-artful-end-to-the-rivera-rockefeller-rivalry-story
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In 99% of cases, I would be opposed to painting over artwork, but I would make an exception in the case of George W. Bush’s paintings.
Even a uniform color “wash” would be an improvement.
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But, but, but. . . . they are so unintentionally funny!
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I posted this comment on Larry Cuban’s blog: Bari Weiss did not do due diligence in asking native and black opinions on the matter. The mural can be considered an important work of art for many, however its placement in the halls of a school is problematic.
There are many works of art I would not have students walk by on a daily basis, even if they had an interesting point of view. There are famous works of art depicting rape, concentration camps, a father eating his own child, and acts of domestic violence. There is a famous photograph of naked child running down the street during the Vietnam War. I imagine there are many contemporary artists working on themes stemming from the crying and caged refugee children in US detention centers. Are these works important to view, discuss, and attempt to understand? Yes. Should they be permanent fixtures in the hallways of the school that young adults attend? Absolutely not. As a classroom teacher in the Bay Area who teaches a diverse group of students including many Latinx with Native American and African American ancestry, I believe it is important to offer imagery that creates pride in ancestry and positive connections to ethnic identity around the classroom. Throughout the year, as we learn of colonialism and erasures of identity, which is often present in my own students’ lack of knowledge of their own ancestry, I hope that we can view history through a critical multi-cultural lens of all our perspectives. If I am careful about how I create classroom community and relationships, I must think carefully about the messages I create for them on my walls. Likewise a school creates relationships and messages via the school corridors. What should students see and reflect on each day? What messages does this particular set of murals show? Should this remain static as our perspectives and historical understandings change, as our populations change, as our history books change to embrace multiculturalism and more voices? How are each of our students responding to what they see each day? This is our job as teachers and educators- to keep up, to reflect, to listen, to guide, to evolve.
To respond to Bari Weiss’ editorial, I encourage people to read a different perspective, a perspective she left out- a Native American perspective. https://splinternews.com/bari-weiss-steps-over-native-voices-to-own-the-libs-1836017592?fbclid=IwAR3tCDVo31hin7W5LqRTHyHZ6MzO2VJtjBu1LvPlHjKqWGY5KJnOuZyv_HA
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Thanks for the links. I also thanked you and added another comment on Larry’s blog.
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Students have an instinctive and commendable revulsion for the whitewashing of history that takes place in textbooks and in too many classrooms. (See Diane Ravitch’s superb The Language Police on this point.) The desire never to offend anyone is one reason why students’ textbooks are so insipid and why students find them to be so. The students aren’t stupid. They know, especially in this Internet age, when the textbook is lying by omission. A high school that cannot handle the presence of this mural isn’t doing a proper job of teaching American history and of placing this work of art into its contexts. Our job is not to prettify or mythologize history (see IQ45’s speech yesterday for an example of that) but to tell it, to the extent that we can, as it was. This work of art, and the controversy around it, provide teachable moments. Those are precious and important.
This is why, as well, that I do not approve of the destruction of Civil War monuments–even of ones to such monsters as Nathan Bedford Forrest but, rather, support the removal of these from their places of honor to museums where they can be curated and placed in context. Here’s the statue. Here’s what happened at Fort Pillow. Here are examples of White Citizens’ Councils in the Southern United States erecting these monuments in response to Brown v. The Board of Education of Topeka and the 1964 Civil Rights Act.
In this case, the mural is in a high school. It is part of the high school’s job to curate it, to explain what’s horrifying in it and why this horrifying material is there.
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cx: no “that” in the first sentence of the penultimate paragraph, above.
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Well said, Bob. I agree with you completely about keeping monuments in museums. We should not sanitize history to keep people’s feelings from being hurt, we should and must educate.
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You are advocating the destruction of a painting that calls attention to racism and genocide.
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I would be using that mural as an educational subject like CRAZY. Talking points of view, comparing propaganda of different types (propaganda isn’t all bad), historic events, etc. I see this mural as a very powerful learning tool.
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Exactly right.
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Our government used to pay people to create artwork.
Now, they pay people to obliterate it.
It has been said that a people can be judged by the artwork they leave to posterity.
At this rate, we won’t have anything to show.
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Except for Trump’s tweets.
Do those count as art?
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Art of the steal.
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I would say that IQ45 may well be the finest self-parodist who ever lived. For this reason alone, his tweets are worth preserving in the Trump Presidential Library, along with the shreds of the Constitution that are left after his misadministration becomes another ugly Before picture from our history. Now to go make myself a cup of covfefe.
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Trump mixed up and mangled history in his 4th of July address. He made mistakes no middle school student with any study of American history would make.
He said the following: “In June of 1775, the Continental Congress created a unified army out of the revolutionary forces encamped around Boston and New York … The Continental Army suffered a bitter winter of Valley Forge, found glory across the waters of the Delaware, and seized victory from Cornwallis of Yorktown.
“Our army manned the air, it rammed the ramparts, it took over the airports, it did everything it had to do, and at Fort McHenry, under the rockets’ red glare, it had nothing but victory.”
The airports and Ft McHenry, seriously? When my son read me the comment, he was laughing so hard he could hardly get the words out.
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Hi Diane, you have done a lot of work on race, but this is not reflective of your journey and white woman to white woman, I would ask you to educate yourself more on this complex issue before weighing in as a White woman & using your considerable platform to take a position that perpetuates harm & trauma on Black & Native students. In 1968, 250 Black students marched with calls to “Take It Down.” At the time San Francisco did not listen to them, though the Black Panthers did, taking up the cause. Native students and their families are taking up the fight now, because in a time when across the nation confederate monuments are being taken down, these families are no longer willing to face the daily trauma and indoctrination into implicit bias that the murals create. Students at the school have said for generations “Meet me at the dead Indian” casually referencing an image in the murals showing a stereotypical Native American face down & dead. Black students are done passing images of them shown as enslaved. Diverse youth and current families faced a well financed, and almost exclusively White alumni association who is protecting these murals white Breitbart takes up their cause. Please, take a minute to hear the perspective of Native families & reconsider your position or stay out of a very complex local issue where you are lifting up mire white voices and silencing Black & Native voices, ignoring the impact that they tell us these murals are having. https://www-m.cnn.com/2019/06/26/us/san-francisco-mural-slaves-native-americans-trnd/index.html
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Julie,
The painter of the mural was a gifted painter who was alert to racism and genocide. The mural he painted was a sharp rebuke to textbook history. It was a daring mural in the 1930s. I oppose painting over and destroying his mural, as I oppose censorship in general.
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Julie,
When I wrote my comment about the murals in the television show Parks and Recreation and the statues supporting the confederacy, I had no idea how close a parallel there was to the issue in San Francisco. Thank you for this post.
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So much wrong with this, so I’ll focus on just three. It DOES NOT “perpetuate[ ] harm & trauma on Black & Native students.” It points out to everyone atrocities that are part of our nation’s history.
“…because in a time when across the nation confederate monuments are being taken down, these families are no longer willing to face the daily trauma and indoctrination into implicit bias that the murals create.” This mural DOES NOT celebrate injustice, as the confederate monument do, it does the opposite.
“…stay out of a very complex local issue…” Do I hear the specter of “states rights” here? If you paid attention to this blog, you’d know that virtually 80-90% of the posts are about state and local issues. I think we understand complex local issues quite well. Your patronizing statement indicates your own myopia, not anyone else’s.
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For those who are don’t think these images are traumatizing, & didn’t have the opportunity to hear from the diverse group of young people & families who spoke to their impact at the school board, check out this resource. https://www.nctsn.org/sites/default/files/resources/addressing_race_and_trauma_in_the_classroom_educators.pdf
Anyone is welcome to weigh in on this or other complex local issues, but they run the risk of weighing in on the confederate side, which I doubt is Diane Ravitch’s intent.
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Your skill in illogical, intellectually sanitizing gymnastics is fascinating in a perverse way.
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Please see my comment, above, about the responsibility of the school to curate this work–to explain to students what it actually means. Destroying this work would be an obscenity.
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Do universities have the same responsibility to curate the statues on campus and explain what they really mean to the students or should they remove those statues?
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On the Historic Downtown Mall in Charlottesville, Virginia, near the University of Virginia, is a Community Chalkboard. Any passerby can write on it. Chalk is provided. If your university features a statue to genocidal maniac, slaver, and pedophile Christopher Columbus or to the notorious anti-Semite Henry Ford, it would do well, I think, to erect such an outdoor chalkboard around or beside the statue. The kids will take care of the curation, and this interactivity will provide quite the learning experience.
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Bob: the chalkboard or the post it note equivalent is an excellent idea. A few years ago, we took Jocey to see a show about a horse in WWI. War Horse, perhaps. Outside, a round kiosk of a thing providing writing implements and post it notes allowed the crowd to comment on the play (a fantastic use of puppets for the horses) or war in general. Some people allowed this to become a comment on the human condition in particular. It was beautifully effective. I wish I could have pulled the nots down and arranged them for a poetic expression.
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A large number of universities have removed or covered artworks that students found controversial, including depictions of Christopher Columbus. Do you think the universities made a mistake?
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I hope they also removed the paintings of naked men and naked women. Please stay away from any major museum, especially Roman or Italian art or you will surely be offended.
Of course, there is a difference between examining a statue or painting as an artifact and establishing it as an object of veneration. We should be wise enough to know the difference.
Otherwise we will burn all the art andthe books that anyone finds offensive.
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To say students in this District become enlightened in middle school and therefore “not offended” is ridiculous. Additionally, what about the students of color who transfer in after middle school? What about first generation parents of all students? They visit this school. Did they receive those same middle school lessons?
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We owe it to the 12 million Africans brought in chains to the Americas and to the 50 to 200 million indigenous peoples of the Americas who died from disease and genocide NOT to erase this history and not to look away from it but, rather, to tell the truth about it. This mural is an example of that truth telling. Its erasure is unconscionable. It is literally and figuratively a whitewashing of a sordid history. No more of that.
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Two things cam to mind when I read this: the murals of Pioneer Hall in Pawnee, the setting for Parks and Recreation (https://www.nbc.com/parks-and-recreation/photos/the-murals-of-pioneer-hall/147451) and, of course, the monuments to confederates soldiers and politicians. The fictional town of Pawnee did not remove the murals, the actual monuments are being removed because they deeply offended many people.
Which is the right stance?
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Even if one ignores the fact that the painting is actually an indictment of racism and further ignores the fact that there is no need to actually destroy it, how the hell do they justify spending $600,000 to “erase” it?
I once painted a 2000 square foot ceiling in 4 hours with a Wagner power roller and though I don’t believe in destroying historically significant artwork, I’m pretty sure I could make short work of painting over a 1600 share foot mural. And I would certainly not charge $600k. (Maybe $300k, but certainly not $600k)
Seriously, doesn’t the school district have anything better to spend $600,000 on?
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They could probably get a few students to paint over it after school and even if they paid them $15 an hour, it probably would not cost them more than $200 (no K)
$600k? seriously?
They could probably hire a demolition company to demolish a good part of the school for that. Is that what they plan to do? Destroy the school to save it?
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By the way, did I mention that I do painting for a reasonable rate?
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PS
I do strictly inoffensive painting — unless you are offended by landscapes and wildlife (and Horatio Algeranon is my pseudonym from a previous blogging life, in case you were wondering)
http://halgeranonpaintings.blogspot.com/
But as I said above, I also wield a mean power roller and am not afraid to use it.
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Are there OTHER murals in the school? Could other murals be painted on the school grounds to celebrate the resilience of African and Native American people?
I’m speaking only for myself here, but images of slaves picking cotton in this context does not offend me; it inspires me to become what Maya Angelou called, “the dream and the hope of the slave.”
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As a Histroy guy, seeing history being important is an exciting thing. When history intersects with art, it is even more exciting to see. Today in the North Carolina Museum of Art I ran into yet another artist that was hated by the Nazis and took his own life when the Nazis began to destroy his work. Still another tricked the hapless Nazis into shipping the majority of his work to the a United States.
Periodically, someone wants to censor Huck Finn for racism, ironic when it was criticized in its day for the lack thereof. I suggest we add, not subtract, from our artistic rendering. If there is a big statue of a rebel soldier in our town square, let’s put up another statue beside it that depicts the time period that erected it, demonstrating that it was not ante-bellum slavery that eviscerated African American rights but the Jim Crow era and it’s incorrect interpretation of history that clobbered them.
Meanwhile, what about the “rich man’s war and poor man’s fight that was the reality of the American civil war? Playing the race card, wealthy southerners sat out the war while convincing the poor whites that they had to fight off the union to protect their daughters from rapacious Negro bucks roaming about free. After the war, they sold the lie about the war being about states rights, and the north eagerly accepted the lie so they could get to work cutting the forests and mining the mines in the south.
History is just too complex to leave it to the artists, so when we have art, keep it and interpret it. The kids will understand if we take the time to explain it.
By the way, where was there a school built well enough during the depression to be still in use. Sounds to me like it is about time to make that building into a museum anyway. It must be a place where poor folks go to school.
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There is actually a surprising amount of construction that has lasted since the Depression era.
In upstate NY, there are long staircases built along cliff faces into the solid rock in places like Treman park and Watkins Glenn by the Civilian Conservation Corps.
Those people knew what they were doing and took real pride in their workmanship.
But I think you are right that it’s past time to retire a school from that era.
I suspect that the district can not afford to replace it. The 600k price for the mural “erasure” may actually include some renovation.
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SDP: here too, the CCC parks are a legacy closing in on a century. If you travel up into the southern Appalachians, beautiful schools stand as a monument to the generation that got attention from its government when times were hard. They are, however, very old now, and they need re-modeling.
When we were recently in Ocean Spring, Mississippi, we visited a museum dedicated to Walter Anderson, a local painter and part of a potter family that starts Shearwater pottery in the 1920s (it is still there, later generations churning out pots, cups and trinkets). Anderson had painted several panels in their old school on CCC direction. These are now housed in the museum.
Watkins Glen was a beautiful place. I did not know it was CCC.
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No.
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I do see the logic in hiding or moving this mural. Along that logic, all violent songs like the star spangled banner should be forbidden from schools. If one has been victimized by violence or war, how can these songs be allowed?
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No, the school board is not completely nuts. They should seek to relocate the work to a museum and in the meantime, cover it up with new panels and new art.
It appears the WPA works in many public commons may have been directed by those who held local power. To be clear, they were all white men making the decisions about which artists to employ.
More controversy in a city that lost it’s suit to defend at-large elections and is now spending more than $20 million of taxpayer money to appeal that outcome. The city was also found to be in violation of the Equal Protections Clause of the CA Constitution.
https://www.surfsantamonica.com/ssm_site/the_lookout/news/News-2017/September-2017/09_11_2017_Protesters_Renew_Call_for_Removal_of_Santa_Monica_City_Hall_Mural.html
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Small groups of advocates with amplified voices trying to drive policy for all. Where have I seen this before? Oh, right, everywhere.
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This is a local perspective on the mural and its impact. It helps frame the protest. https://www.surjsf.org/open-letter-on-the-life-of-washington-murals?fbclid=IwAR1kyGkok-8OtkohV0XD1O100hmc5eGl4DCU2geJ_cu4z2z55ApjOl5sPHY
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