Donald Trump — he does the best joined up thinking

So what was that Donald Trump was saying last year about how America should come first and the country shouldn’t be involved in so many foreign wars; that it was time to bring the troops home and focus on domestic things?

And how does that square with getting a SEAL killed in a raid in Yemen, putting more troops into Syria, bombing a Syrian airforce base, dropping a MOAB on Afghanistan and provoking war with North Korea?


Floppy Trump

According to Donald Trump  back on the campaign trail, Clinton didn’t have the stamina to be president. Just one hundred days into his tenure, the same Trump has played more golf than any other president, taken more weekends off, and is saying he didn’t think the job would be as hard as it is. So, does Mr Trump have the stamina?


Glad we avoided that warmongering Hillary Clinton!

Does anyone remember that just a few months ago a whole bunch of people saying they didn’t want to vote for Hillary Clinton because they thought she was a warmonger?

Well, Donald Trump, the non-warmongering candidate, in his first 100 days on the job has increased American boots on the ground in Syria, got a SEAL killed in Yemen, bombed a Syrian airforce base, dropped the mother of all bombs on Afghanistan, and brought us to the point of a needless war with North Korea.

I’m just mentioning because I’m wondering whether anyone who thought Clinton was dangerous now feels totally fucking stupid.

A Tremendous Roundup Of Street Art Ridiculing Donald Trump | The Huffington Post

A Tremendous Roundup Of Street Art Ridiculing Donald Trump

From England and Austria to New York and Los Angeles, the writing is on the wall.

Street artists have a lot to say about President Donald Trump ― little of it flattering.

Works criticizing the former reality TV personality began appearing on walls around the world soon after he launched his bid for the presidency in June 2015.

Now that the man is actually in the White House, there’s been a renewed explosion of anti-Trump murals, stencils and posters.

Below, we’ve rounded up some of the most notable pieces so far ― and we expect to add to this collection over the coming months and years.

Seen some anti-Trump street art? Or can you help us further identify the artists or locations of the pieces we already have in the list? Email your images and information to

  • 1 Trump As Adolf Hitler (Pegasus)

    History always repeats! Don’t make America Shit again! #dumptrump now before it’s too late!

    — Pegasus (@artistpegasus)

    2:22 AM – 19 Feb 2016

    Pegasus received death threats after depicting Trump as Nazi Germany’s brutal dictator Adolf Hitler on a wall in Bristol, England, in February 2016. “I will never give in to fear mongering, nor will I ever be censored,” the London-based street artist, who is originally from Chicago, told The Huffington Post at the time. “I am American and I believe in freedom of speech and artistic freedom of expression.”

  • 2 We’re Caught In A Trump (Barbi & Hope.xlf)

    Street artists Barbi and Hope.xlf created this mural in Valencia, Spain, shortly after Trump’s presidential election victory. “We were freaking out about the result, it was like a bad joke so that’s why we painted it,” Barbi told The Huffington Post. It’s since been removed, however.

  • 3 Don’t Feed The Trolls (TABBY)

    TABBY painted “Don’t Feed The Trolls” in Vienna before the presidential election. “Trump is everything that’s right and wrong with America and the world,” TABBY told HuffPost at the time. “He’s the American Dream of being super wealthy and saying what you want, while being totally out of touch with reality.”

  • 4 Love Trumps All (TABBY)

    TABBY also dropped “Love Trumps All” in Vienna.

  • 5 Donald Tramp (TABBY)


    And TABBY’s third anti-Trump piece in Vienna was, the artist told HuffPost, “all about how good old Donald will do anything for attention.”

  • 6 Dump Trump (Hanksy)

    Van Tine Dennis/ABACA USA

    New York street artist Hanksy depicted Trump as a giant pile of crap on Manhattan’s Lower East Side in the summer of 2015. It lasted the course of the presidential campaign, but was sadly whitewashed in early January after city officials threatened to fine the building’s owner if it wasn’t removed.

  • 7 It’s All Fun And Games… (Jeff Rothberg)

    Brooklyn morning walk reveals: #art #trump #Mondaymorning

    — Regan Kelly (@regan_kelly)

    12:14 AM – 15 Nov 2016 · New Jersey, USA

    This reproduction of Jeff Rothberg’s piece was spotted in Brooklyn, New York, in November 2016.

  • 8 The Cock Grabber (Herr Nilsson)

    #trump #catwoman #streetart in Stockholm, Sweden,
    by artist Herr Nilsson.
    Photo by Herr Nilsson.

    — Subrata Banik (@subratabanik)

    11:52 PM – 8 Dec 2016

    Herr Nilsson painted “The Cock Grabber” under a tram bridge in Stockholm. It was in response to Trump’s disgusting comments about women during the infamous 2005 bus ride with former “Access Hollywood” host Billy Bush, Nilsson told The Huffington Post.

  • Artist: Unknown
    Location: Montreal
  • Artist: Unknown
    Location: Detroit
  • Artist: Unknown
    Location: Unknown
  • Artist: Unknown
    Location: London
  • 13 Rape Trump (Indecline)

    “Rape #Trump” by the art collective Street artist Indecline 😀

    — DJ Rubiconski (@Rubiconski)

    6:43 AM – 16 Dec 2015

    The Indecline collective painted this “Rape Trump” mural near Tijuana airport on the old U.S.-Mexico border wall in 2015. “We want to raise awareness [about the] horrible shit he said,” a member of the collective told Vice at the time. “Controversy works better than something subtle.”

  • Artist: Unknown
    Location: New York City
  • 15 I Don’t Even Consider Myself…

    Artist: Unknown
    Location: New York City

  • Artist: Unknown
    Location: Believed to be Los Angeles
  • Artist: Unknown
    Location: Melbourne, Australia
  • Artist: Unknown
    Location: New York City
  • 19 The Fire Of The Resistance

    Artist: Unknown
    Location: La 72 migrant shelter in Tenosique, Tabasco, Mexico

  • Artist: Unknown
    Location: Believed to be Barcelona, Spain
  • Artist: Unknown
    Location: Philadelphia
  • 22 Trump As Adolf Hitler

    Swastika with Trump’s likeness removed from side of #Atlanta road –

    — John Spink (@johnjspink)

    12:28 AM – 10 Dec 2015

    An unidentified artist depicted Trump as Adolf Hitler in Atlanta in December 2015, pasting the posters beneath highway overpasses around the city.

  • 23 Make Everything Great Again (Mindaugas Bonanu)

    Liutauras Strimaitis/AP

    Trump smooched with Russian President Vladimir Putin in Mindaugas Bonanu‘s piece, which he painted on the side of the Keule Ruke barbecue joint in Vilnius, Lithuania, in May 2016.

  • 24 Orange Supremacist

    Artist: Unknown
    Location: San Francisco

  • 25 If Elected, I’ll Deport Myself

    Donald Trump-inspired graffiti at Heaven Skate Park in #Hartford

    — steven goode (@townnewsguy)

    2:43 AM – 14 Sep 2015

    The artist is unknown, but this graffiti is believed to have appeared at Heaven Skate Park in Hartford, Connecticut, in September 2015.

  • 26 Donald Eres Un Pendejo (Ilegal Mezcal)

    Liquor brand Ilegal Mezcal called Trump a “dumbass” in this Spanish-language graphic, which appeared in New York, Los Angeles, Miami and elsewhere in the run-up to the election.

  • 27 Donald McTrump (Ivan Orama)

    Donald McTrump sighted near Chinatown

    — Flynn (@majorsideye)

    3:30 AM – 16 Mar 2016

    New York-based artist Ivan Orama‘s piece popped up in his home city, London and elsewhere in the run-up to the election.

  • 28 Kiss Of Death (The Paintsmiths)

    GEOFF CADDICK via Getty Images

    Trump locks lips with British Foreign Secretary Boris Johnson in the Paintsmiths’ (aka Jack “Dones” and Felix Braun) “Kiss of Death” mural in Bristol, England. The pro-Europe campaign group We Are Europe commissioned the artwork before the United Kingdom’s referendum vote to leave the European Union in June 2016. “People need to look at this image and think — is this the future I want?” spokeswoman Harriet Kingaby said in a statement at the time.

  • 29 Are We There Yet?


    Street artist Jack “Dones,” who is part of the Paintsmiths, painted this mural in Bristol, England, as a follow-up to “Kiss Of Death” (see above).

  • 30 Drumpf (El Peezo)

    Donald Trump’s coming to town just in time to check out El Peezo’s new #drumpf street art …

    — PHX New Times Arts (@phxculture)

    4:00 AM – 17 Mar 2016

    El Peezo fused Trump and “Star Wars” villain Jabba the Hutt for this piece in Phoenix in early 2016. “The Donald is pop culture. He is a character, not a real person. I suppose that is the underlying theme behind this piece,” the artist told the Phoenix New Times.

Banksy and Fellow Street Artists Are Refusing to Fuel the Market for Paintings Taken from the Streets

Banksy and Fellow Street Artists Are Refusing to Fuel the Market for Paintings Taken from the Streets

JAN 27TH, 2017 11:45 PM

“This will look nice when it’s framed.” Image courtesy of Candy Factory Films and Parade Deck Films.

“What would you do if you were offered a small fortune for a painting the artist didn’t want sold?”

This is the thorny moral question that drives the newly released documentary “Saving Banksy.” It follows the saga of one man’s quest to save an iconic graffiti work by the infamous street artist Banksyfrom being whitewashed by the city government or being ripped from the streets and sold at auction. In doing so, the film pulls back the curtain on an issue plaguing many street artists and the integrity of their work: the rampant dislodging and sale of street-art works against the will of artists.

“These pieces show up in galleries and at auction, and the public doesn’t generally know that the artist didn’t intend for them pieces to be sold, or that none of the money is going to the artist,” explains the film’s director, Colin Day, shortly after the film’s release in San Francisco. In addition to raising awareness of the challenges street artists are dealing with, the film also aims to “get people to appreciate street art—in its intended form,” says the film’s executive producer, Brian Greif.

Greif, who is also the story’s protagonist, is a street art collector—albeit a “misguided” one, as the film’s press release admits. His intentions were pure: to remove Banksy’s Haight Street Ratmural from its high perch on the wall of a Victorian hotel in San Francisco in order to rescue it from being whitewashed by the city government. He’d then donate the work, which depicts one of the artist’s signature rats wearing a Che Guevara-style cap and wielding a spray can, to a museum. However, after painstakingly extracting the piece, Greif learns his plan will be impossible to realize. He inadvertently finds himself in the middle of a heated clash between a community of street artists and a group of individuals who remove street art work for personal gain—and being schooled in the complex politics of the sale of street art in the process.

Removal of Banksy’s “Haight Street Rat.” Image courtesy of Candy Factory Films and Parade Deck Films.

“The thing is, artists like Banksy make pieces in their studios that they designate for sale,” explains Greif. “But the works they’re making on the street aren’t intended to be sold, or even saved.” It’s precisely this question of intent that first thwarts Greif’s plans. In one scene, he offers the painting as a gift to SFMOMA. But while John Zarobell, the museum’s assistant curator at the time, admits it’s a strong piece, he explains that he can’t accept the donation without a note from Banksy approving the removal of the painting and its placement within a museum context.

Zarobell also outlines another requirement by the museum: the delivery of a certificate of authenticity from Banksy himself, to ensure that he created the painting. But while the Haight Street Rat was listed on the artist’s website as an original, Banksy’s studio wouldn’t provide the document. It might seem like an odd decision for an artist to block their work from entering a prominent museum collection. So why would he do it?

As Greif explains, if Banksy were to authorize the work it would set a precedent, “that works intended for the street, after they’re removed, still have value.” And that’s not a precedent, as we learn through the documentary, that artists like Banksy want to support. Day elaborates: “There’s kind of a black market that’s emerged for paintings removed from the street, and artists don’t want to encourage it by legitimizing those paintings.” While selling works uprooted from the streets isn’t technically illegal, the process does pose some serious ethical quandaries. Not only do most street artists disapprove of the removal of their works from their original context, but they also don’t see any of the profit made from the sales.

Stephan Keszler is one of several dealers known for ignoring the intentions of artists like Banksy whose street work he sells. He shows up in one of the film’s more memorable scenes—showing a series of Banksy street paintings he maintains “aren’t for sale” at a 2012 Miami art fair. The presentation includes the Haight Street Rat, which Greif had lent in frustration after his unsuccessful attempts to return the work to a public context. However, Grief begins to regret his decision the moment he sees the work on the wall of the fair: “I don’t know how I feel about this. It’s like when you see a deer in the wild, it’s cool, but when you see a deer’s head on the wall, it’s not so cool.”

To confuse matters further, Greif’s piece is hung alongside two works that were originally stenciled by Banksy on a wall separating Palestine and Israel. The artist placed them there, as artist Glen E. Friedman points out in the film, in an attempt to “make a positive impact” in the wartorn region. Friedman goes on to express a frustration shared by numerous artists across the film, when “some fucking asshole takes the shit off the wall and tries to sell it to someone. What sense does that make?” Street artist Ben Eine, a friend of Banksy who accompanied him on the trip to Palestine, echoes the sentiment, referring to Keszler in particular: “In the street-art world he’s considered a shyster, a villain.”

Fully restored rat on display in San Francisco. Image courtesy of Candy Factory Films and Parade Deck Films.

After the fair closes its doors, Keszler ends up selling all of the works he presented—except Greif’s. Despite receiving a $500,000 offer from the dealer, which is a significantly higher figure than those typically drawn by similar works authenticated by Banksy selling at major auctions, Greif stayed true to his pledge to return the work to the public.

These days, Greif still struggles to find public platforms to exhibit Haight Street Rat, but he’ll never sell it. Like Banksy and a dedicated community of street artists, Greif refuses to fuel the market for paintings pulled from the streets. But beyond refusing to engage with operations like Keszler’s, a big question remains: how can activity of this sort be quelled? “Well, it’s a hard question,” Greif says. “If a piece is painted illegally, without the owner of the building’s or the city’s permission, there’s not much that can be done. The building owner legally owns the painting and can do whatever they want with it.” And that might mean selling it to a dealer like Keszler to make a quick buck, or more.

“Again, many of these people removing the works and the collectors buying them don’t know the damage they might be doing to an artist’s career or the work’s integrity,” Greif concludes. “So that’s why we made this film—to inspire more respect for this work, the artists who make it, and their wishes.” As “Saving Banksy” kicks off its tour, Greif and Day are hopeful that their goals, this time around, will become a reality.

—Alexxa Gotthardt


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Blood and gore: Brussels asks how far street art can go –

Blood and gore: Brussels asks how far street art can go

BRUSSELS (AP) — A struggling child with a blade to his neck awaiting slaughter. A gutted body hanging upside down as blood seeps out. In Brussels these days, it’s called street art — and names far less flattering.

“Hellish and awful,” Nicole Brisard grumbled as she walked her dog, Max, past the bleeding corpse rendered in paint on seven stories of a low-rent apartment building. “And all we wish for is to have something better, out of respect for the people.”

The two murals that appeared last weekend have made their anonymous artist the talk of the European capital, posing a familiar question about art expressly created to provoke: how far can it go before the outrage becomes unacceptable?

Both the wall painting eliciting Brisard’s ire and the companion mural across town of a child facing death are oversized adaptations of details from well-known 17th century art works, “The Corpses of the De Witt Brothers” by Dutch master Jan de Baen and Caravaggio’s “Sacrifice of Isaac.”

The originals, respectively based on a historical, political murder and the Old Testament, are held by Amsterdam’s Rijksmuseum and the equally hallowed Uffizi in Florence.

Some parents in the grimy, gentrifying neighborhood where the basketball court-sized mural of Isaac howling in fear is located have complained that children are having trouble sleeping because of the terrifying sight outside their windows.

“Lots of parents would not like that,” Brussels alderwoman Ans Persoons said.

It is almost as shocking to think they were painted on a few bitterly cold nights in Brussels while dangling down a rope and staying out of sight of authorities.

The mural depicting a lynched De Witt brother can be seen far and wide, including by hundreds of thousands of commuters on Belgium’s busiest stretch of railway.

Many art insiders suspect the painter behind the murals is the same one who created huge frescoes of human genitalia a few months ago.