And this should be the end of it.
The disgusting painting, which depicted police officers as pigs, has been removed from the tunnel wall in the Capital complex. This time, not by irate Republican lawmakers, but by officials who oversee the integrity of that highly trafficked area.
The Architect of the Capitol, which oversees maintenance of the Capitol complex, determined late last week that the painting violated the House Office Building Commission policies that prohibit artwork with “subjects of contemporary political controversy or a sensationalistic or gruesome nature.”
And any “art” that would portray police officers as animals and protesters as innocent victims of their abuse is not only offensive, but ignores massive chunks of reality, undercutting any productive conversations aimed at solving the problems in our streets.
The painting was submitted by a high school student, David Pulphus, from Missouri, as part of a district art contest, and was apparently chosen by Democrat Representative Lacy Clay, whose district includes Ferguson, Missouri.
Ferguson, of course, was the scene of the shooting of Michael Brown, an unarmed black man, in 2014.
Brown was 18-years old, at the time. His shooting began with the usual, liberal suspects creating this fairy tale identity of him as an innocent, promising black waif, happily going about his business on one sunny, carefree day, only to be brutally gunned down by a trigger-happy, racist white cop.
After peeling through the lies of his being shot in the back and “Hands up, don’t shoot,” it turns out that Brown, after having roughed up a store clerk and having stolen from his store, actually assaulted Officer Darren Wilson, and may have tried to get his gun.
Brown, instead of running away, was actually coming at Wilson, who had already been injured by the much bigger Brown.
After ignoring orders to stop advancing, Brown was shot.
Whether Wilson had any other options is debatable. What is not, however, is that the repeated portrayal of police officers as the enemy of minorities has resulted in ambushes of police officers, and streets filled with chaos and rioting whenever law enforcement is put in the position of having to use deadly force to subdue a minority suspect.
This knowledge is what makes Rep. Clay’s, along with that of the Congressional Black Caucus’ insistence that the painting remain, while framing it as a “freedom of expression” issue all the more disgusting.
Clay held a public event a week ago with fellow members of the Congressional Black Caucus to re-hang the painting after Rep. Duncan Hunter (R-Calif.) personally removed it four days prior. Yet other House Republicans found ways to take it down two more times before the end of the day, forcing Clay to return the painting to its place on the wall a total of three times in less than eight hours.
That particular back and forth prompted one member of the CBC to say, with characteristic class, that they might need to “kick somebody’s a**” if it happened again.
At some point, the painting was even covered over with an American flag.
Clay, nor other members of the CBC have commented on the decision by the Capitol Architect, or the removal of the despicable piece of “art,” but let us hope that this truly is the end of it, and if there are any future art competitions, those choosing the winners will use a bit more humanity and commonsense than what was used in this case.