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LA Times: Legislator yanks execution artwork in Texas Capitol PDF Print E-mail
By Lianne Hart, Los Angeles Times Staff Writer
March 15, 2007

HOUSTON — As he walked with his young children through the Texas Capitol in Austin this week, state Rep. Borris Miles stopped short in front of an unfamiliar painting: It showed a black man hanging from a tree by a rope — part of an art exhibit organized by a group opposed to the death penalty.

Miles scanned the other images and spotted a black-and-white rendering of a man tied to an electric chair. "Doing God's Work," read the title.

"I was shocked. It was appalling," said Miles, a Houston Democrat. The legislator, who is African American, immediately took down both pieces, placed them in his office and directed his staff to find out who was responsible for the display.

"I'm not an art critic or an art hater, but I can't think of any circumstance where hanging this type of art would be appropriate. It's offensive," Miles said. "It has no place at the Capitol."

The artwork, some by prisoners on death row, is part of an exhibit organized by the Texas Moratorium Network, which advocates a two-year moratorium on the death penalty. The show was intended to "engage the public and get them to discuss death penalty issues," president Scott Cobb said. "From that perspective, we're grateful to [Miles] for taking it down, because now it's wall-to-wall people wanting to see what the controversy is about."

The State Preservation Board schedules exhibits at the Capitol that serve a "public purpose" and are sponsored by an elected official, spokeswoman Julie Fields said. "We look at this as a free-speech issue. We don't police content," she said.

Miles wants the panel — made of up of five elected officials and one private citizen — to amend the "process for selecting exhibits…. We need procedures for what goes on display." Cobb said he'll meet with Miles — who supports a moratorium on executions — before the exhibit closes on Saturday. "I'll ask him to talk to the preservation board first if a piece of art offends him in the future," Cobb said. "We would like that a precedent is not set that anybody can go around taking down things at the Capitol that they object to. He probably overreacted."
 
Houston Chronicle Blog Discussion on Art Removal from Capitol PDF Print E-mail

March 14, 2007

An "objectionable" commentary on the death penalty

Blue Bayou , A Houston Chronicle reader blog about politics and current events with John Whiteside

This item about the reaction of State Rep. Borris Miles to two pieces of artwork on display at the Texas Capitol raises some interesting questions.

State Rep. Borris Miles personally removed two pieces of art on display at the Capitol that he found objectionable.

The artworks -- a painting of a black man hanging from a rope and an illustration of a man tied to an electric chair with the inscription "Doing God's Work" -- were part of an exhibit placed by the Texas Moratorium Network, which seeks a two-year moratorium on the death penalty in Texas.

In e-mail to House colleagues Monday, Miles wrote: "I was greeted with these images as I walked through the halls of the (Capitol) Extension this morning with my two children, ages five and eight. I consider them to be extremely inappropriate and highly objectionable.

"Capitol exhibits are supposed to serve a public purpose or be informational in nature. These pictures were hung with no accompanying text or explanation," wrote Miles, D-Houston.

He said he had spoken to staff at the State Preservation Board about the process for selecting exhibits.

Not having seen the artwork in question, I can't comment on it. Obviously, it was designed to push some buttons (and it did). But I found myself wondering why artwork about the death penalty is objectionable, but the actual machinery of capital punishment apparently is not?

This doesn't really have much to do with my views on the death penalty (which are probably more complicated than readers who have pegged me as a doctrinaire liberal would think). Whether you support it or not, there is something disturbing about the processes and hardware that we employ to execute people. It is, frankly, more disturbing than just about any piece of artwork I've ever seen - even if one believes that it is a necessary thing.

It's interesting to me how we sometimes don't want to look at things we support. So while we have the death penalty in Texas, and use it more vigorously than many other states, we don't seem to want to be reminded of it, or see it happening.

I think we need to be willing to look at ugly things that we believe are necessary. Part of making difficult choices - whether it's empowering the government to end a life, sending our people to war, or standing by while some of us work in dangerous conditions to produce things that the rest of us need - means acknowledging those choices.

And so my gut reaction to this is that if you want the death penalty, you need to be willing to be reminded that sometimes we kill people because we think it's the right thing to do. If you want to go to war, you need to be willing to look at the body counts and the caskets. If you want loosely-regulated industries, you need to be willing to be reminded of people who've died in accidents working for them.

If we shy away from these things - or to accuse anybody who mentions them of trying to undermine them - we're shirking responsibility for choices that we, as a state, have made.

There's no right to be protected from the results of those choices. Tough choices - like those about the life and death - should be tough. If we can't tolerate some provocative pieces of canvas, how can we tolerate the very thing they depict?  

Posted by John Whiteside at March 14, 2007 09:05 PM

Comments

One other note: I'm not really interested in debating the death penalty here, so please, don't go there. Why? Because such debates tend to generate more heat than light, and to be honest, I simply am not up for it. The art issue is, I think, independent of that. Also, my own views stem more from some basic convictions than practical issues, and as such, don't really lend themselves to this forum. Thanks.

Posted by: John Whiteside at March 14, 2007 09:08 PM

If we can't tolerate some provocative pieces of canvas, how can we tolerate the very thing they depict?

I didn't realize we do tolerate the hanging of black men from ropes.

What exactly DOES go on over at your place, Mr. Whiteside? :)

BTW, it seems a rather strange thing to tease your readers that they might be making the wrong assumptions about your views on the death penalty, and then declare it off limits for discussion. Since the blog is necessarily about your views on any manner of things, it seems an odd tease indeed. Maybe folks would find it interesting if you shared?

Posted by: kevin whited at March 14, 2007 09:49 PM

Whether it be a cross, electric chair, hanging tree or gas chamber an involuntary flinch is invoked within myself when I see these images. My reaction is always unsettling to myself and I'm never sure quite how to deal with it.
That's just my jolt of reality that I too am a part of capital punishment...I thought I'd share.

Posted by: Tom at March 14, 2007 10:47 PM

I didn't realize we do tolerate the hanging of black men from ropes.

You might have heard of the idea of a "metaphor" at some point, and might even know that it's sometimes used in art - for example, a very clumsy metaphor for the racial disparaties in application of the death penalty.

Or maybe not.

BTW, it seems a rather strange thing to tease your readers that they might be making the wrong assumptions about your views on the death penalty, and then declare it off limits for discussion. Since the blog is necessarily about your views on any manner of things, it seems an odd tease indeed. Maybe folks would find it interesting if you shared?

There is a tendency in blogs for certain topics to immediately devolve into reprises of previous discussions. For example, any time I mention immigration, I get a boatload of comments about immigration in general (and not relevant to whatever the initial post was about). Similarly, every discussion of Bush here turns into a war debate, and mention of an event that takes place on Earth in your blog tends to spark comments about Metro and/or the mayor.

I choose things to write about because I think they're interesting things to talk about, and unfortunately that reflexive stuff tends to crowd out potentially interesting discussion. In this case, I think the idea of how we cope with representations of things that make us uncomfortable, but which we as a group support, is a interesting one.

People arguing about whether the death penalty is a good thing - not so interesting, and I think not really central to the question this news story raises. And, purely selfishly - I have no interest in starting and moderating the comments on such a discussion.

I thought that was clear from the original post, but just in case, I've elaborated on it for you.

Posted by: John Whiteside at March 14, 2007 11:24 PM

The point being illustrated by the two pieces of "art work" is just how far we have come in our indifference to the suffering of others. Indifference is the human trait that makes even the angels cry. Comparing hanging to injecting poison is a shallow arguement at best. Are there any among us willing to stand up and say that they do not understand the statistically documented racial bias in capital punishment today?

Posted by: Mike Walsh at March 15, 2007 12:09 AM

I am more concerned that a single legislator took it upon himself to remove the artwork wihtout discussion. Yet another example of the ego that drives most politicians. He would likely be outraged if someone removed a piece he liked.

Posted by: Oilacct at March 15, 2007 12:34 AM

Oilacct is absolutely correct. I could care less if Rep. Miles was offended by a piece of art. Why would he think it was his role to determine what others should be permitted to see? The display was not his property and he should have kept his hands off. In some cases, taking what does not belong to you is considered theft. Not to an elected official, apparently.

Posted by: Dennis at March 15, 2007 07:50 AM

Dennis, you took the words right out of my mouth. When I read the article in the Chronicle yesterday, my reaction was "and if I had done such a thing, I would have been handcuffed, Tasered, Tasered again, probably Tasered once more for good measure, then sent on an extended stay with the food old boys at TDCJ. On the other hand, this legislator could simply remove items he found objectionable from the Capitol, and suffer no repercussions."

Then I realized: every time we hold an election, we can also remove things we find objectionable from the Capitol. Maybe some of his consituents will oblige us the next election.

BTW, John, bravo on your final points. That is the very reason I took my son out to see what hunting and fishing were about when he was younger - that way he really understood that hamburgers and catfish fillets aren't simply grown at the grocery store.

~EdT.

Posted by: Ed Truitt at March 15, 2007 08:14 AM

Good shot Ed. It is quite troubling to me as well that we ignore the reality of so called justice in Texas. This is one of the most active states in executing crooks, yet we have probably one of the most flawed systems of justice of any state. In Illinios, they stopped executing crooks because they found so many innocent people facing execution because of outright fraud on the part of the police. The rate so far was about 18% of those on death row were found to be innocent.
The court of Criminal Appeals in Texas has basically said that they will not function and will refuse to overturn virtually all convictions. I saw Chief Justice Keller's interview on TV in which she said that. I was astounded at her statement. It was in regards to another case which was not a death penalty case in which she discounted DNA evidence showing the innocence of a convict. The painting showing in effect the link between lynching and the death penalty should indeed give all of us pause with our current courts and state of justice here.
The legislator concerned should be a LOT more worried about the state of justice here than any painting. He can actually DO something about it and do it LEGALLY too.

Posted by: Randy Erb at March 15, 2007 08:51 AM

Two quick points:

1) There is a process for selecting and removing artwork in such a situation. Miles violated it, and therefore deserves condemnation without consideration of his motive.

2) As a black Democrat, I can understand his offense -- after all, he is a member of a party that promoted the lynching of black men for decades, and so is rightly ashamed by the reminder of his party's heritage and the betrayal of his people that his membership in that party represents.

Posted by: Rhymes With Right at March 15, 2007 09:28 AM

From sex to sausage-making, there are many things that we tolerate (or require) as a society, but which should not necessarily be depicted in public.

Posted by: Wutzke at March 15, 2007 09:56 AM

Miles had young children with him. As a parent I understand the desire to filter images that enter their realm. The Holocaust Museum is a great place to learn and contemplate, but I wouldn't take a five year old, as I know that the depictions created there may be too disturbing for very young eyes.

The art described does a service to minds that can and should contemplate choices that we as voting adults are asked to support and atrocities that should not be forgotten.

Posted by: candor at March 15, 2007 10:18 AM

While I usually agree with your opinions, I'm going to have to disagree with you on this one. Yes, as a society we need to be reminded of the ugly side of the policy decisions we choose to undertake. However, there is a time and place for it.

For instance, I believe that the government should not come in and tell a woman whether the unborn fetus she's carrying is considered a human being or not. There is a wide variety of opinions in this country regarding when life really begins. Some say conception. Some say viability. Some say birth. Regardless, as a society we've decided to permit abortion. That doesn't mean that I want to drive down the freeway and see billboards of mutilated fetuses. Nor do I believe that would be appropriate for a child's eyes. While not being an entirely comparable analogy, I think that such disturbing images of the ugly side of our policy decisions should not be put in a public place where children might have access to them. Miles should not have personally removed the displays, but whether he followed proper protocol in removing the pieces of art doesn't affect the greater point you were making about being willing to see the ugly side of our policy decisions.

Posted by: Carlos at March 15, 2007 11:44 AM

Rhymes - I really don't think you meant to identify yourself as a black Democrat, which I feel fairly certain you are not. I believe the proper sentence structure (not that we should have to be giving
English composition lessons to a certified public school teacher)is: "I can understand his offense, as he is a black Democrat." Picky, picky, picky, I know. But if one cannot communicate clearly, it is difficult for ones words to be taken seriously.

Posted by: Dennis at March 15, 2007 05:19 PM

Carlos, you said

"That doesn't mean that I want to drive down the freeway and see billboards of mutilated fetuses... While not being an entirely comparable analogy, I think that such disturbing images of the ugly side of our policy decisions should not be put in a public place where children might have access to them."

The simple fact is that we can't insulate our children from the ugly realities of life. For example, the "ugly side" of our policy decisions to let people drive cars at high speed, and to consume alcohol to excess, is on display pretty much every day. While admittedly our policy doesn't permit the two to be done together, our policy does prevent the ability to preempt such behavior with 100% certainty.

Think of it this way: if we create a "clean room" environment for our children, to protect them from things we find disturbing, what happens when we can no longer protect them? They are older, but without any experience in dealing with such things, they may well freak out (think about this in relation to violence and suicide among teenagers who can't handle rejection.)

~EdT.

Posted by: E. D. Truitt at March 15, 2007 06:09 PM

For Rymes I would remind him that it is the GOP now which is the welcoming home to all the racists and bigots who used to be part of the Democratic Party in the south. Even simple white bigots understand that and vote accordingly. I am afraid that you are not even as clever as they are.
I also have to remind some not so bright folks that it is the GOP who has elevated Sen.Lott to a leadership position. He is the one who thought that segregation is a great idea and still supports such a thing. The GOP ran David Duke as their candidate for Governor of Louisiana too. The Klan, while it is true USED to be the terrorist wing of the Democratic Party in the south, it has NOW moved to the GOP and found welcoming arms which is why the south is now solid for the GOP.
The reason I am a Democrat now, and not before, is that I could NOT be a member of a party that supported such racists in the past. The bigots have all left the Democratic Party and are alive and well in the GOP.

Posted by: Randy Erb at March 15, 2007 08:01 PM

~EdT.,

I remember seeing a scene in a movie when I was six or seven years old. In this scene a car pulled up to a house, a guy got out and used a missile launcher to blow up the house. For weeks I had trouble going to sleep at night because I feared that our house would be blown up out of the blue. Developmental psychologists would probably confirm that young children are very susceptible to the images they see. That's why it's generally not a good idea to take your small child to see 300, for example.

I understand your point that we can't and shouldn't insulate our kids from every negative image they might come across. I wasn't advocating that. However, we should try to protect the well-being of our children as much as possible, especially pre-adolescents. Billboards with images of mutilated fetuses, works of art depicting lynchings, and other similar visual representations should be kept out of the view of young children as much as possible. I would not have no problem with having high school students, for instance, view them, but not elementary school students.

I agree with John's initial point that we should be subjected to the down side of the policy decisions we make as a society. It just should be done in a way that does not compromise the well-being of our kids. I haven't seen the works of art in questions, and maybe they were not that disturbing. I just felt compelled to make the point that while we want to make sure we see the consequences of our policy decisions, it should be done in a tasteful manner that doesn't put our kids at risk.
 
Lawmaker pulls death-penalty art from Texas Capitol exhibit PDF Print E-mail
By The Associated Press
03.15.07 (Link to article)

AUSTIN, Texas — A state lawmaker removed two pieces of art from a Capitol exhibit organized by a group opposed to the death penalty because he said he found the images inappropriate and objectionable.

State Rep. Borris Miles, a Houston Democrat, took issue with a painting of a man hanging from a rope and an illustration of a man tied to an electric chair with the inscription "Doing God's Work."

"We should not prevent the display of art," Miles said on March 13. "But there have to be limits."

Miles said in an e-mail to his House colleagues that he encountered the images while walking through a hall of the Capitol Extension on March 12 with his children, ages 5 and 8.

"Capitol exhibits are supposed to serve a public purpose or be informational in nature. These pictures were hung with no accompanying text or explanation," Miles wrote.

The Texas Moratorium Network, which advocates a two-year moratorium on the death penalty, didn't violate any standards with the exhibit, said Scott Cobb, the group's president.

He said the purpose of the artwork, some of which was created by death-row inmates, was to call attention to the death penalty.

"Nobody has a right to take down what they don't like. (Miles) overreacted and should have gone through the proper channels" to remove the work, Cobb said.

Miles, who has talked with the State Preservation Board about his complaint, said a system should be put in place to screen exhibits.

The preservation board, caretaker of the Capitol, requires that exhibits in the Capitol serve a "public purpose" and have an elected official as a sponsor.

Spokeswoman Julie Fields said the preservation board does not "restrict or censor" exhibitions.

Miles delivered the pieces on March 13 to state Rep. Harold Dutton, another Houston Democrat, the sponsor of the exhibit.

Dutton questioned whether censoring objectionable artwork would defeat the purpose of allowing art displays. The moratorium group has agreed to Dutton's request to leave the pieces out of future displays.

"It doesn't bother me whether it's up or down," Dutton said.

Fields said she doesn't recall ever getting complaints about a Capitol display.

"This is a little overwhelming to us. We don't feel like it's our place to make decisions about what goes into a building or not," she said.

 
artnet Magazine: Texas Death Penalty Art Stirs Controversy PDF Print E-mail
Texas executes more people than any other state, and state legislators don’t like being criticized for it, either. Houston’s Democratic representative Borris Miles personally removed two artworks from an exhibition organized at the Texas capital building by the anti-death-penalty group the Texas Moratorium Network. Miles refuses to return the works, claiming that the images are inappropriate for children. The works in question are a painting of a hanged man, and an illustration of a man in an electric chair featuring the ironic inscription, "Doing God’s Work."

The State Preservation Board, which regulates art shows in the Capital building, requires that exhibitions call attention to public issues, and have the sponsorship of a member of the legislature -- in this case, Miles’ fellow Democrat Harold Dutton, who has declined to take a stand defending the censored works. Texas Moratorium Network president Scott Cobb told the Austin American-Statesman newspaper that Miles had no right to censor the artworks -- and that the lawmaker should have at least gone through the proper channels to lodge a complaint.

The works in the capital were a selection from a larger show seen at the M2 gallery in Houston, Feb. 10-18, 2007. The exhibition featured art by death row inmates and artists, and was juried by a committee that included Annette Carlozzi, curator at the Blanton Museum of Art, Lora Reynolds of Austin’s Lora Reynolds Gallery and Malaquias Montoya, a professor at the University of California, Davis.

 
Austin Chronicle Review PDF Print E-mail
 

May 19, 2006 

"Justice for All? Artists Reflect on the Death Penalty"

Gallery Lombardi, through May 22

Do you remember the Garbage Pail Kids Trading Cards? I think it was in the early Eighties that their disgustingly caricatured personas were all the rage. While kids traded "Sicky Vicky," a goopy girl who looked to have been covered in slime, snot, and I don't want to know what else, for "Up Chuck," and "Potty Scotty" for "Virus Iris," I guess the concept of anti-role models was being worked out in the social exchange of one disgusting character for another.

For some reason, I thought about the Garbage Pail Kids Trading Cards after seeing Annie Feldmeier Adams' entry in the Texas Moratorium Network's "Justice for All?" show on the death penalty. Yet where the Garbage Pails featured sticky, dirty characters, each of Adams' "Last Supper Trading Cards" shows only a plain, very human mouth, a number, a date, and a stark printout of what looks like a menu, listing something like liver and onions, mashed potatoes, gravy, and whole milk. While even after reading the card, I don't know who No. 247 was or what he did to be executed on June 13, 2001, I do know that he wanted old-fashioned comfort food at his last meal. I also know that No. 247 is dead now, and his card can't be traded for anything other than what it was.

The human detail illustrated through the tight graphic design of Adams' cards is part of the sentiment that runs through "Justice for All?," which was juried by Annette Carlozzi, head curator of the Blanton Museum of Art's Contemporary and American Art collection; Lora Reynolds of Lora Reynolds Gallery; and Malaquias Montoya, artist and professor at UC Davis, with assistance and support from Scott Cobb from the Texas Moratorium Network, and Gallery Lombardi curator and Chronicle arts writer Rachel Koper. Including pieces from artists worldwide, some of them longtime activists, others newcomers to the issue, and some death row inmates themselves, the show is nothing short of powerful. While the exhibition is not the overt political parade it could be, it is like artfully asking us to see the full-scale slaughter of the chicken we usually find so nicely dissected and Saran-Wrapped at HEB and to come to terms with what it takes to eat dinner as usual.

The show is not without humor (Bush gets a jab or two) and also not without provocation. Austin artist Michelle Mayer provides a video installation of another last meal, projected down on an injection bed supporting the tin dinner tray. While the tedium of eating becomes the urgency of living, the work leaves its viewer with an aching stomach unrelated to food consumption. Poor Boy, by Melinda Wing of Phoenix, is a monotype image, three times changed over the piece with the quote "poor boy / you bound to die" seemingly handwritten across the center frame. The piece implicitly references all the statistics showing how death does not come equally to the poor and the minorities who are tried in capital punishment cases, reminding the viewer that the "poor boy" quote is as much statistically more probable as it is colloquial.

While shows like this can often preach to the choir, their power and poignancy give art its legs and give all of us an opportunity, as "responsible" voters (in all senses of the word), to think through what it means to be the only industrialized nation practicing capital punishment. "Justice for All?" is a must for anyone with strong feelings, mixed feelings, or even few feelings on the death penalty.