The Hudson River Destruction Project

Hudson
WILLIAMWALDRON/GETTYIMAGES

CITY JOURNAL
Spring 2011

The Hudson River Destruction Project
by James Panero

How the EPA is harming nature and ruining communities

Visit Fort Edward, 200 miles up the Hudson River from New York City, and you’ll find the waste hard to miss. That isn’t because General Electric once used polychlorinated biphenyls, the chemicals known as PCBs, to manufacture electrical equipment at two local plants. Rather, the waste on display in Fort Edward—now boasting a 110-acre “dewatering” facility built on once-fertile farmland and dozens of ugly barges bobbing on the river—is the wastefulness of the Environmental Protection Agency, which is imposing a costly river cleanup that is both unnecessary and environmentally destructive.

By ordering a dredging operation along 40 miles of the Hudson, the EPA has created a disaster of governmental proportions in this quiet upstate community. For six months in 2009, floating clamshell diggers shoveled day and night, pulling sludge from the river bottom around Fort Edward and depositing it onto barges. Six days a week, 24 hours a day, these barges, containing a total of 286,000 cubic yards of sediment mixed with old PCBs, were offloaded into that massive dewatering facility. There the soggy material was treated and squeezed in giant presses. The cakes of compacted sludge were then moved by truck onto 81-car trains, parked on a new spur of the Canadian Pacific Railway extending into the site. Five of these trains were in constant rotation, circulating the 4,400-mile round trip between the facility and the final dump site in Texas.

It was a Herculean attempt at remediation but one that actually increased PCB levels in the Hudson for a time; it also wreaked havoc on locals’ lives and imposed huge costs on General Electric. And all this work was only “Phase I” of the EPA’s plans. The government is now compelling GE to spend billions of dollars on Phase II, an even larger and longer operation. Dredging will recommence this spring.

The mighty Hudson once secured New York City’s commercial dominance, linking it to Canada, the Great Lakes, and the American heartland via the Erie Canal. For centuries, the river also served as the drainpipe for companies in the Empire State—more often than not, with the government’s blessing. From 1947 until 1977, General Electric’s plants at Fort Edward and nearby Hudson Falls discharged up to 1.3 million pounds of PCBs—the overflow waste of production—into the Hudson, and they did so with the full approval of state and federal agencies, which issued GE all the necessary permits.

This complacency wasn’t surprising, because PCBs had long been regarded as miracle compounds. Developed as a by-product of gasoline refinement and licensed by the Monsanto Company in 1929, PCBs were oily substances that conducted heat but were also fire-retardant. They were mixed into everything from road pavement and carbonless copy paper to household caulking and insulation. Because of their fireproof properties, the power industry found PCBs especially useful as safe coolants for electrical generation and distribution. The chemicals therefore replaced organic, more volatile oils as insulators for electrical components—for example, in the cooling liquids found in those metal cylinders that you see atop telephone poles. The rapid, safe expansion of electrical transmission, which brought prosperity and lifesaving energy to all corners of the United States, took place in a bath of PCBs—sometimes, in fact, through components manufactured at the two GE plants on the upper Hudson.

But the chemicals’ renowned stability also rendered them an environmental hazard. PCBs break down slowly in nature. Soluble in oil but not in water, they can “bio-accumulate” in animals and be passed up the food chain, probably posing health risks to people who ingest them in high enough quantities. But the exact nature of those risks has never been identified. A recent New York Times description pushes the perils of PCBs as far as the fact-checkers allow: “In high doses, they have been shown to cause cancer in animals and are listed by federal agencies as a probable human carcinogen.” So the direct human-cancer link of PCBs is unproven, and the description “probable human carcinogen” comes from the federal agencies that, as we will see, have a vested interest in maligning the chemicals.

Congress banned the manufacturing, sale, and distribution of PCBs in 1976. A year earlier, New York State’s commissioner of environmental conservation had sued General Electric, arguing that state law prohibited the company’s discharge of PCBs into the river regardless of the permits that the state had issued. In the landmark settlement adjudicated by Abraham Sofaer, at the time a professor at Columbia University and now a senior fellow at the Hoover Institution, GE and New York divided responsibility on how they would clean up the remaining PCBs: GE undertook the remediation of its plants, and New York—because it had, after all, approved the original discharges into the Hudson—would deal with the PCB sludge in the river. The settlement specifically stated that GE would not be liable for any future river cleanup.

The company met its mandate well, scrubbing its plants clean and even digging out an ingenious network of tunnels beneath the bedrock of one of its plants to capture every last ounce of PCBs that had seeped into the ground. Meanwhile, the Clean Water Act of 1972 had already begun regulating the discharge of pollutants into American waterways. As the waste pipes were shut off along the Hudson’s banks and sediment began to cover the deposits of PCBs and other chemicals spread out along its bottom, the river began to clean itself, and the recovery of its water became an environmental success story. The federal standard for PCBs in drinking water is capped at 500 parts per trillion; the river now regularly flows with 30 to 50 parts per trillion in the upper Hudson and a tenth of that downriver. The river became cleaner of other pollutants as well. Fort Edward locals remember a time when the Hudson was tinted the color of whatever pigment a nearby paint plant was processing and discharging; today, the water is safe enough to swim in. Some towns along the river even began relying again on the Hudson for their municipal tap.

New York didn’t hold up its end of the 1976 decision as well as GE did. When the state’s Department of Environmental Conservation first tried to clean up the Hudson PCBs in the 1970s and 1980s, it went looking for a convenient dump site for dredged-up pollutants. It eventually settled on a 100-acre dairy farm located near the Champlain Canal, which would allow for easy transportation of the sludge. Sharon Ruggi still lives on the farm, where her husband was born in 1935. One “supper time in October” of 1985, she recalls, state regulators showed up and sat down at the kitchen table. They laid out their papers—agreements to sell—and told the Ruggis to sign. If the Ruggis resisted, the agents warned her, the state would seize the property by eminent domain—but just the farmland. The Ruggis would be left with their house, rendered worthless by its sudden proximity to a toxic dump site.

Despite the threats, Ruggi showed the regulators the door. She then became a full-time activist, joining a farmer-led anti-dredging group called Citizen Environmentalists Against Sludge Encapsulation (Cease). She notified her town about the regulators’ heavy-handed tactics. She wrote to her representatives and testified before Congress about the negative impact of a large-scale PCB cleanup. And she won the day. Without its dump site, New York State had to back off from its cleanup commitment.

But New York had a brilliant idea: passing the buck right back to GE, despite the terms of the settlement, through the new federal law known as Superfund. Officially called the Comprehensive Environmental Response, Compensation, and Liability Act of 1980, the Superfund legislation empowers the Environmental Protection Agency to pursue whatever chemicals it deems unsafe and to force the “responsible party” to foot the bill for a cleanup, regardless of whether that party was a willful polluter or a good citizen discharging waste with the government’s approval. (Usually, the “responsible party” winds up paying after years of wasteful litigation: one-fourth of Superfund expenses go to “transaction costs,” fees to lawyers and consultants whom even the New York Times once described as “federal officials who spun through Washington’s revolving door to trade their Superfund expertise for private gain.”)

And so in 1984, New York got the EPA to declare the entire 200 miles of Hudson from Fort Edward to New York City a Superfund site. But the EPA also at first decided against dredging the river bottom, deeming it a risky, invasive approach that might stir up more PCBs. In 1989, however, New York appealed the decision, and 13 years later—the wait time alone testifies to federal inefficiency—the EPA finally agreed, calling on GE to conduct extensive dredging.

Its reasons were novel. The concentration of PCBs in the river water had dropped to safe levels, after all. So the EPA, searching for another justification for pursuing massive remediation, settled on PCB accumulation in the river’s fish. PCBs in river water, plants, and sediment could pass in incremental amounts to the fish around them (through ingestion and respiration) and then pass to the people who eat the fish, the EPA reasoned. But here, too, the river was showing stark improvements. In 1975, before the chemicals were banned, the concentration of PCBs in Hudson fish averaged 17.39 parts per million and could go as high as 50.7 parts per million, according to John Cronin, an environmentalist who worries about the dimensions and impact of the dredging project. By 2007, the mean concentration was 0.89 parts per million—well below the two parts per million that the Food and Drug Administration has set for commercially sold fish—and the maximum was 3.56.

Through the calculus of bio-accumulation, however, the EPA has learned to claim that even infinitesimal amounts of PCBs in the environment are major health concerns. A potential exists, says the agency, for PCBs to build up through gradual ingestion, even if that would require a superhuman consumption of a single food source for years on end. This was the argument that finally allowed the EPA to compel the multibillion-dollar cleanup of the Hudson by GE. As Hudson fish were already approaching acceptably safe levels for moderate consumption, the EPA set a new target of 0.05 parts per million in the river’s fish. Such numbers, argued the EPA, would allow for “unrestricted consumption” of Hudson fish by what the agency called “subsistence fishers.” It would be an undeniable achievement to restore the river to its antediluvian glory, with fish safe to pluck and eat at every meal. And the way to achieve that goal, said the EPA, was a massive dredging of the river bottom.

At what cost would such a pristine state be achieved? The dredging in Phase I alone cost General Electric about $500 million. If GE had contested its obligations to dredge, Superfund would have allowed the EPA to conduct the cleanup itself and then collect four times the cost from the company. “If it costs the state $1 billion, we could collect $4 billion, so that’s a pretty heavy stick,” says David King, director of the EPA’s Hudson River field office.

In addition to the $500 million, GE says that it has paid the EPA another $90 million so far to cover the agency’s oversight of the cleanup. In other words, the Superfund program produces windfalls for the government agencies that enforce it at both the federal and state levels. By mandating that GE dredge the Hudson, regulators who oversee the project can submit their own expenses to the company for reimbursement. Indeed, “what propelled the PCB case to the forefront is not just the toxicity of PCBs but also the significant financial resources of General Electric,” Cronin wrote in the New York Times. Superfund only works, needless to say, when there is a viable company to pay for it. (The Hudson site is one of 50 or so Superfund obligations that GE currently faces throughout the country.)

The cost of the EPA’s quest wasn’t just financial. Strolling through Julie Wilson’s daylily garden in Fort Edward last fall, I almost forgot the enormous dewatering facility that the federal government had located next door. This area of farmland, with Vermont’s Green Mountains rising in the distance, can be particularly radiant. Nearby, a steady stream of sailboats with lowered masts floated south from Canada through the last locks of the Champlain Canal into the Hudson. Thanks to regular watering, a mountain of chemical-laden dirt, dredged from the Hudson and still awaiting pickup just over the rise behind Wilson’s flowerpots, was releasing acceptably low levels of dusty contaminants in my direction.

When the facility was in full operation during Phase I, life for Wilson was quite a bit worse. Dredging is a dirty business. Because the river bottom was being disrupted, PCB levels in water, air, and fish all rose dramatically and exceeded federal limits. By every measure, the health of the river and the surrounding community deteriorated, at least temporarily, through the EPA’s intervention. The messiness of the operation was a necessary evil, the agency maintained, the collateral damage of doing good.

Such assurances mean little to Wilson, now 72, as she contemplates the start of Phase II. Even before the processing facility went into high gear, when the neighboring farm was stripped of its topsoil to make way for the construction of the dewatering facility, she had to confront clouds of dust. Her asthmatic daughter still can’t visit on bad days. As he was dying of cancer, Wilson’s husband, James, had to leave the homestead, overcome by the commotion. “There were so many noises, clanging and banging and shouting, motors and unloaders and dump trucks dropping rocks,” Wilson tells me. “You have no idea what it is like. Twenty-four hours a day. It can drive you crazy. The stress level can affect almost every function—cardiac, gastrointestinal, and elimination.” The beeping of the vehicle backup alarms, she says, was the worst.

Wilson’s property value is now down 50 percent. Keeping clients interested in her flower business has also been difficult. “I tried to do garden tours until I could no longer compete with the noise. When you have to raise your voice to shouting, you lose the effect of the tour.” She adds that birds and other wildlife have abandoned her property. “I have such a love of the land here that when I see the site over there, I could just weep.” The sentiment puts her in an unusual position. What do you do when the organization responsible for destroying your environment is none other than the Environmental Protection Agency?

Little stands in the way of Phase II; certainly the EPA itself isn’t likely to cancel the project. Under administrator Lisa Jackson—“the agency’s most progressive chief ever” and “one of the most powerful members of Obama’s Cabinet,” according to an admiring Rolling Stone profile headlined eco-warrior—the EPA has been flexing its regulatory muscle as never before. Because of its own “endangerment finding,” the EPA is attempting to regulate carbon dioxide emissions under the Clean Air Act, a move that could have a profound effect on American industry. The agency has also been raiding New York City public schools in search of PCBs in fluorescent lighting; it recently called for a remediation plan that could, the city initially said, cost up to $1 billion. The EPA is even attempting to impose regulations on the dairy industry by arguing that the Spill Prevention, Control and Countermeasure program, designed in 1970 to prevent oil discharges in waterways, also applies to milk fat spilled on farms.

The agency’s regional administrator in charge of evaluating the Hudson dredging project, Judith Enck, is another eco-warrior. Before taking on her federal post, Enck was head of a New York environmentalist lobby tasked in part with pursuing PCBs. One wonders if an activist—someone who has spun through that “revolving door” described by the New York Times—can be a judicious regulator of a multibillion-dollar project.

The regulators also have a formidable (and tax-exempt) public-relations wing. In 1966, the folksinger Pete Seeger built an antique-style sloop, the Clearwater, to ply the Hudson’s waters and draw attention to its contamination. Since then, Seeger’s environmental group, also called Clearwater, has been joined by Riverkeeper, Scenic Hudson, and the National Resources Defense Council, all of which raise funds by preaching the evils of PCBs.

Nor will GE itself be able to resist the EPA’s plans. Jack Welch, the company’s chairman and CEO from 1981 to 2001, occupied a middle ground, cleaning up the plant sites but arguing that extensive dredging would cause more harm than good. When Jeffrey Immelt, these days a top Obama economic advisor, succeeded Welsh, however, he rebranded the company with the term “ecomagination” to highlight GE’s innovations in green technology. A year later, GE signed on to the EPA’s decision to dredge the Hudson, and in 2005, it filed a consent degree in court to undertake the project. The company did quietly contest the rollout of Phase II, on the grounds that PCB resuspension in the river water during Phase I far exceeded the EPA’s own standards. But just as it pushed down its targets for PCB concentration in fish in order to compel the cleanup, the EPA reset its standards for resuspension, allowing PCB levels in river water to spike above federal safety levels during dredging.

After GE gave me a tour of the dredging operation, I found it difficult to doubt the company’s commitment to the project. Out on the Hudson, our pontoon boat passed by the long row of barges tied up and waiting for the start of Phase II. Downriver, we approached a vessel collecting core samples of sediment to be sent off for an analysis of contamination depth—one of 50,000 data points taken along the waterway. GE divers were rebuilding the pulled-up river bottom, an underwater ecosystem destroyed through the EPA’s mandate, by painstakingly restocking it with 70,000 individual plants, mainly wild celery and American pondweed harvested from local sources.

Once ashore, I looped around to the dewatering facility bordering Julie Wilson’s property. The site was empty and resembled an airless lunar base, with a manicured pile of PCB-laden sediment at the center. The facility’s main task at the time I visited was collecting and processing the rainwater that falls on the site. Not a drop here enters the earth. A sheet of plastic runs beneath the entire facility, collecting the water and feeding it through the same colossal filters used during active dredging to “polish” the water squeezed out of the dredged material.

When Phase II begins, General Electric will again employ 500 workers here and on the river. Once more, Wilson will watch as GE excavates tons of river muck, now buried under 30 years of sediment, and stages it for processing and transportation next to her residential neighborhood. “I view it as creating a new environmental disaster,” Ruggi says, and history suggests that she may be right. In one early dredging attempt, New York State created a PCB dump site at the tip of Rogers Island, just downriver of the plant. That area has now become its own toxic hazard requiring remediation.

“Government looks very good taking corporate USA to task,” Ruggi adds. “It makes great headlines. The sad part is the health of the Hudson loses out. We grow up thinking the government works for us. To come to the realization that it can work against us is shocking.”

The Backstory of Politics at Pratt

James writes:

Today the New York Daily News features my updated report on Pratt Institute and the controversy surrounding the work of the conservative student artist Steve DeQuattro, which I first reported in this space on Monday ("Conservative Artist Boxed Out at Pratt"). Steve Kolowich at Inside Higher Ed also has an even-handed report out today on the different interpretations of the episode called "Censorship or a Mirage?," which includes the media coverage on the story since Monday.

Pratt is my father’s alma mater. I wish I could now say that Steve DeQuattro merely saw a mirage of political intolerance at the school. Unfortunately the facts of the case, as additional details have come to light, only confirm his side of the story. There has indeed been an attempt by students and faculty to keep his conservative political work outside of the group show supposedly open to all graduating seniors.

What kicked off the controversy was a letter sent by Mr. DeQuattro's student gallery-mates to his professor over his inclusion in the group show.  While the content of this letter remain sealed, some of the tenor of the student objections came through in an interview I conducted with one of Mr. DeQuattro’s objecting exhibition mates, who has asked that her name not be used in connection with this story. She reported that she and her fellow students decried Mr. DeQuattro’s craft and work ethic, not his content. When pressed, however, she elaborated on her objections in this way:

We wrote to the head of painting, his professor. We were concerned. Steven is a very political, and we’re talking about painting, and he’s talking about slavery. It offends us for someone to make us look like we are a joke and stupid, and we’re bigots.

Mara McGinnis, a spokeswoman for the institute, corroborates the political nature of the student complaint, describing the overall incident as "a procedural issue within an academic department complicated by students taking offense at the work of a fellow student." The use of the word “offensive” was also related to Mr. DeQuattro by his advisor, Dennis Masback, who initially received the letter and described its contents to him.

This letter led to the documented interdiction by Donna Moran, Pratt’s Chair of Fine Arts. On February 17, she wrote the following memo to Mr. DeQuattro removing him from the group show and instructing him either to exhibit his work alone in a non-gallery classroom space across campus or in the gallery space after the group shows had ended. While claiming that Mr. DeQuattro’s content was not a consideration in her decision, it nevertheless provided the impetus, in that her involvement came at the behest of the offended students. The introduction of the bureaucratic argument over a missing form likewise only emerged as an issue after the student objections. It should be noted that at no point did she defend Mr. DeQuattro's work, and his place in the group show. Her memo reads:

DATE: February 17, 2011

TO: Stephen DeQuattro

FROM: Donna Moran, Chair of Fine Arts

RE: Senior Exhibition

Cc: Professors Masback, Redmond and Stauber Assistant Chair, Scott Malbaurn

Dear Stephen,

It has come to my attention that there has been some dissention in regards to your senior exhibition. I have not entered into the discussion until this point because I was hoping that it would be resolved within the drawing and painting area. However, it does not seem to be resolved and I feel it is now necessary for me to step in and make what amounts to an executive decision.

For some reason, there has been discussion about the content of your work. This is not a consideration in my decision as you are free to show any work that you and your professors decide on for a quality exhibition, no matter where and when you exhibit.

The seniors who turned in their gallery request forms had worked diligently on designing their exhibitions. This is something that the department encourages and applauds. You did not even turn in your gallery request form. It is clearly stated in the request “Undergraduate Fine Arts Department: Painting & Drawing Request for Senior Exhibition Gallery” form that the deadline for this was November 6, 2010 for spring semester.

You did not turn in your form or successfully negotiate an exhibition with students who had designed their shows. Because your lack of taking responsibility in regards to a professional attitude about your senior show, I have made a decision that you can either have an exhibition in Main 500 for a week, treating that space as a gallery space or in East 240 gallery the week immediately after the last scheduled show.

This will not change your ability to graduate on time, if you successfully pass your courses this semester and have the appropriate credits to graduate.

Part of what we need to insist on for the seniors who will be going out into the art world is that they learn to be professionals and treat their responsibilities in a professional way. Please keep this in mind after you graduate if you have an opportunity to exhibit your work in a commercial gallery.

If you would like to meet with me about this please email me for an appointment time. My email is XXXXX@pratt.edu

Sincerely,

Donna Moran,
Chair of Fine Arts

As this letter makes clear, Pratt did indeed attempt to remove Mr. DeQuattro from the group show. Pratt may argue that they never prevented Mr. DeQuattro from showing his work on campus, but Professor Moran did try to keep his art from standard public view in an unprecedented way. Pratt has since attempted to spin Moran’s intent to sideline Mr. DeQuattro from the group show as merely an offer of “alternative space.” Upon receiving the official letter, however, Mr. DeQuattro says he was not interested in what he preceived to be a forced marginalization. He considered exhibiting in the gallery space, in the group show, to be not only a requirement but a right for graduating seniors at Pratt, regardless of whether other students took offense to the work. He wrote back to Professor Moran by email:

On Fri, Feb 18, 2011 at 1:07 PM, Steve DeQuattro

Dear Ms. Moran,

I am just receiving your e-mail for the first time, I apologize for not being more on top of the pratt e-mail system. Let us get something straight, I did indeed fill out the form in request of a gallery, in fact Dennis gave us these gallery request forms last semester in class where I filled it out and returned it to him same day, during class time. The issue seems to be not that I did not fill out a form, but rather that because I needed to be registered for 19 credits this semester, which is over the credit limit, it was quite late before I was actually registered for all of my classes. Dennis informed me that because of this, I was moved from my original date, to a later one. This was not an issue for me, as I was never informed of the original date, so to me it seemed that there was no change.

It has now come to my attention that the only thing getting in the way of my show going on successfully is the intolerance of Pratt students. There has been an effort to segregate me and my work from the rest of the community, putting me in a class room that is not, nor has ever been a gallery, and certainly does not occur as one of the places one would visit on a typical monday of gallery openings. I believe this effort to be reminiscent of the claims of Southern Democrat governors in regards to the public school systems, in which students were put in "separate but equal" schools. as we all know, it became obvious that separate could never be equal, and thus the separation at hand was indeed discriminatory.

The assumption was made that the promise of a show of my own would be appealing to me, but it is not, I do not want special treatment, I want to be treated as everyone else, I have been at this school for five years, taken classes under two majors, and I simply ask for the equality of opportunity this wonderful country of ours grants all of its citizens, regardless of ethnicity, religion, or political ideology. Therefore, it must be obvious as to why your offer of moving me to a week after the last show is scheduled is one I cannot accept. I can do the math, this would place my show after the school year is over; a clear attempt to silence my work by minimalizing the audience.

If the prejudice of these students is such that they cannot bear to show their work next to someone who is affiliated with the political party that freed the slaves, gave women the right to vote, and pushed for the civil rights act to be passed, then they are the one's who should give up their show date and location. They should be the ones showing after school ends, they should be the ones put in the dungeon on the 5th floor.

This controversy highlights the success of my artwork, I came to believe that those who claim to be 'tolerant," and "liberal" are the least tolerant amongst us, and are not liberal in any sense of the word, and here is this intolerance on display for all to see. any effort to silence, what probably is, the only display of a conservative/libertarian political philosophy in years if not the entire history of Pratt institute, is no different in my mind that the crimes the democrats committed again blacks under the Jim crow laws. Separate can never be equal, the idea is in opposition to our founding document: "We hold these truths to be self-evident, that all men are created equal, that we are endowed by our creator with certain unalienable rights, amongst them Life, Liberty and the Pursuit of Happiness." and yet, this entire effort is trampling on my right to pursue happiness, the very fact that I am the one who's date and location is in jeopardy illustrates the absurdity of the whole situation, again, it is the prejudice and intolerance of those I'm scheduled to show with that has made this an issue, not my complaints (I have none, and would be happy to show beside them); thus, give them the option of showing on the 5th floor, and give them the option of showing after school ends, I will not willingly forfeit my rights to cater to bigotry.

Thank you,
-Stephen DeQuattro

In her email reply, which I excerpt, Professor Moran responded:

You are not the decision maker here... You will not be showing with that group. Where and when are our decisions not yours.

Following this exchange, a closed meeting was called to address Mr. DeQuattro’s ouster from the group show. Pratt now says that through this meeting, which took place a week before my press coverage, the school resolved Mr. DeQuattro’s complaints and restored him to the group show.

In its own report, Inside Higher Ed wrote:

Moran says the Pratt Institute expects that DeQuattro will show his cereal box, and several accompanying pieces, during the last week of April. Masback, DeQuattro's professor, wrote yesterday in an e-mail to Moran (which she forwarded to Inside Higher Ed) that DeQuattro had been "notified verbally and by email" that he is to show his work with the other students, and "said he was fine with that."

Mr. DeQuattro confirms he would have been “fine with that,” if indeed he had been restored to the group show (and not merely relegated to exhibiting “during the last week of April” in an “alternative space.”) An email from another one of his classmates following that meeting indicates that his offended gallery mates still believed DeQuattro would be forced to exhibit his work on his own outside of the group show. In addition, Mr. DeQuattro was still declining this offer. Excerpt below:

--------- Forwarded message ----------
From: Kyle XXXX

Stephen

Sorry it took me a while to contact you,

I offered to design, print, finance and disperse a poster which would contain You, Laura, Rin and my name if you agreed to show in Room 500 main building. You refused.

Yesterday, Ms. McGinnis suggested to me that Pratt is now working to restore DeQuattro to the original group show: “The students have since been advised to seek mediation through Pratt's Office of Student Affairs in order to design a four-person show.” If true, I applaud the school in these efforts, and hope Mr. DeQuattro is allowed to exhibit his work in the group show--without the additional harassment of “missing forms,” or the double-speak of “alternative spaces.” And let's also hope that next time it doesn’t come to this.

Conservative Student Boxed out at Pratt

Liberalism in a Box
James writes:

You don’t have to be an art critic to see something tasteless going on at Pratt Institute. Since 1887, this venerable New York institution has been dedicated to educating “artists and creative professionals to be responsible contributors to society.” Yet teachers and administrators at Pratt have been nothing but irresponsible in their recent dealings with a fifth-year drawing student named Steve DeQuattro.

Mr. DeQuattro is a political artist. He uses his background in graphic design to illustrate the dominant political culture of his world. At Pratt, this means creating work that addresses, as he wrote to me, the “growing bureaucracy, higher tuition, new buildings for administration, new offices, and departments, and left-wing bias, all at the expense of the students.”

As part of his recent work, Mr. DeQuattro has designed a cereal-box-like sculpture that he calls, ironically, “Sustainable Liberalism in a Box” (the graphics are pictured above). He has developed a piece that takes the ubiquitous Apple iPod ad campaign to address abortion. He has designed a sobering five-foot-wide mural that tracks the Democratic Party’s record on race, from Jefferson’s slave-holding days up through the racially charged speeches of Senator Robert Byrd and Vice President Joe Biden.

As a senior in the school, Mr. DeQuattro has been working on this art in preparation for a group show for Pratt’s graduating students, which is scheduled to open on April 23. While his faculty advisor has been supporting him, his peers have not. Mr. DeQuattro says they recently wrote a letter to his professors, calling his work “offensive” and complaining about exhibiting alongside him. Last week, the chair of the fine arts department stepped in to prevent Mr. DeQuattro’s participation alongside the other students in the group show--an unprecedented move in the history of the department, says Mr. DeQuattro, despite the fact that none of his work is pornographic, libelous, or in violation of the laws of free speech. Mr. DeQuattro's advisor did not return a request for comment.

For the administrators and students at Pratt, the problem isn’t political art itself, says Mr. DeQuattro, but the nature of his politics, which are conservative. He says his school takes a liberal position on politicized discourse, just as long as that discourse does not deviate from a left-wing position. Pratt’s opposition to Mr. DeQuattro’s art only underscores the importance of his work. Mr. DeQuattro is asking for outside help in convincing the institution to support his exhibition.

Mr. DeQuattro's case illustrates the art world's double standard towards political art. From Jean-Louis David’s Death of Marat to the works of George Grosz to Picasso’s Guernica, political commentary has had a place in the history of art. Artistic expression can help us understand politics in ways that other forms of commentary cannot.

Yet the relationship of artist to audience often tells us much about the validity of political work. Art that preaches to a wholly agreeing public is little more than propaganda. Most self-described political art today falls short in this regard and is of limited value outside of its political utility, because it almost exclusively presents left-wing arguments to a left-wing public. Rather than standing apart from their audience, works like Shepard Fairey’s promotional designs for candidate Obama to Richard Serra’s visual denunciations of Abu Ghraib pander to existing assumptions and reaffirm the politics of their surroundings.

Audience resistance and censorship, by contrast, can sometimes illustrate the value of an artist’s political message. Such work may encourage the audience, however resistant, to see its politics in a new way. Sometimes this censorship is largely self-constructed, as in the case of David Wojnarowicz's “Fire in My Belly,” where a bad internal decision at the Smithsonian to remove the work from display was taken up by protesters as an opportunity to advance a political and monetary agenda. In that example, the work went from excluded to another form of propaganda, quickly landing in the permanent collection at MOMA. Other times the censorship is more serious, as now in China, where the state crackdown on Ai Weiwei speaks to the continued validity of his artistic project.

By these definitions, Mr. DeQuattro has the makings of a political artist, because as a conservative artist he currently stands outside of the politics of his own time and place. Regardless, student work deserves an especially generous standard for display. Mr. DeQuattro’s art should be supported by the same institution that invited him to hone his craft over the past five years. He should be afforded the same rights given to his classmates and allowed to exhibit in the group show. The fact that his politics are not shared by his peers does not render his art as irrelevant or “offensive.” Instead, it is a reason his political art is valid and deserves to be shown.