All Over but the Crying - Where's the Regulation?

There have been many questions over the past few days concerning Jeffrey Deitch's decision to white-wash over the mural that the artist Blu was commissioned to paint on the wall of the Geffen Center at the Museum of Contemporary Art in Los Angeles (MOCA). Some of the questions I have heard are: "Why did MOCA commission an Italian graffiti artist when Los Angeles has some of the greatest graffiti artists?" or "Why doesn't MOCA have the courage to stand behind their artists?"

I believe these are great questions which need to be addressed but further questions need to be asked as well. Such as, is it possible that Deitch's connections with collectors and patrons who most likely own works by the Italian street artist aided in his decisions in commissioning the work of Blu? and by white-washing it soon after, has this increased the hype and market value of Blu and his work? If these are possibilities, wouldn't it also be possible for Blu to be in on it?

These possibilities coupled with Deitch's history of picking the right artists at the right moments to increase their value is un-rivaled. This highly publicized occurrence will undoubtedly raise the value of Blu's work. Deitch knows this, he is no fool, this move was strategic.

Deitch's disregard for the fact that he is working for a public institution continues to be concerning but it shouldn't be surprising. Blu's commission was paid for by the public money (and some private tax-deductible donations), regardless, this disregard for MOCA as a public institution means that he believes its okay to use public money to fund murals like the one Blu painted and then discard it. He also seems to believe that it is okay to use public money to raise the value of artists work.

So why didn't an LA graffiti artist get the job? Because Deitch's benefactors own Blu's work, not Shepard Fairey's, and in that case, he is standing by his artist, as this will surely raise Blu's market value. The real question is then, is there anyone to stop him? The un-regulated art market takes no prisoners...........literally.