Barack Obama seems intent on reversing the legacy of Franklin Delano Roosevelt, refusing to take the stands that endeared FDR to the American people [can you imagine Barry O saying to the forces of what he called organized money “I welcome their hatred”?].
One of FDR’s legacies, the great public art explosion of the New Deal, is coming under intense fire as the government — pushed by California Senator Diane Feinstein and to the profit of her developer spouse Richard Blum — sells off many of America’s post offices, including the Berkeley central post office in the city center.
Just by coincidence [snicker] the listing agent for the post office properties is Coldwell Banker Richard Ellis [CBRE] — owned by none other than Richard Blum.
And they say Greece is corrupt!
But, heck, that’s the way the game is played in Washington.
It’s not the first time Blum has benefitted from federal legislation to sell off properties.
On 21 April 2009, Washington Times reporter Chuck Neubauer wrote this:
On the day the new Congress convened this year, Sen. Dianne Feinstein introduced legislation to route $25 billion in taxpayer money to a government agency that had just awarded her husband’s real estate firm a lucrative contract to sell foreclosed properties at compensation rates higher than the industry norms.
Mrs. Feinstein’s intervention on behalf of the Federal Deposit Insurance Corp. was unusual: the California Democrat isn’t a member of the Senate Committee on Banking, Housing and Urban Affairs with jurisdiction over FDIC; and the agency is supposed to operate from money it raises from bank-paid insurance payments – not direct federal dollars.
Documents reviewed by The Washington Times show Mrs. Feinstein first offered Oct. 30 to help the FDIC secure money for its effort to stem the rise of home foreclosures. Her letter was sent just days before the agency determined that CB Richard Ellis Group (CBRE) – the commercial real estate firm that her husband Richard Blum heads as board chairman – had won the competitive bidding for a contract to sell foreclosed properties that FDIC had inherited from failed banks.
Read the rest.
Blum is, in other words, the embodiment of FDR’s “organized money.”
Somehow, it reminds us of this.
Blum’s axe and a Berkeley legacy
The main Berkeley facility is both a notable piece of architecture [listed on the National Register of Historic Places (PDF)] and the repository of two notable New Deal artworks created under the Treasury Department’s Treasury Relief Art Project [TRAP], a remarkable historical mural by Suzanne Scheuer surrounding the door to the postmaster’s office and a bas relief plaque on the eastern side of the building’s loggia by David Slivka, the subject of today’s post.
It’s on the list of Blum’s plums, ripe for the plucking, along with that wonderful art, paid for by the public.
First the sculpture:

31 December 2012, Nikon D300, ISO 640, 44 mm, 1/640 sec, f4.5
And here is a closeup of the upper package:

31 December 2012, Nikon D300, ISO 640, 200 mm, 1/400 sec, f5.6
And the lower package, the artist’s signature:

31 December 2012, Nikon D300, ISO 640, 200 mm, 1/400 sec, f5.6
Here’s some background on Slivka from the website of New York gallery Vincent Vallarino Fine Art:
A passion for art came at a young age for the Chicago-born David Slivka, son of Russian immigrants. At the age of thirteen he was awarded a scholarship to attend classes at the Art Institute of Chicago. Slivka’s family moved around the country for the next three years until finally settling in San Francisco where he won a scholarship to The California School of Fine Arts and spent the next one and a half years studying under the guidance of Ralph Stackpole.
Stackpole recommended Slivka for a commission on the Public Works of Art Project (a precursor to the Works Progress Administration). In 1937, Slivka completed a bas-relief of postal workers on the Berkeley Post Office, commissioned by the Treasury Department. Like many artists during the time, Slivka’s career was placed on hold as the US entered World War II. In 1941, Slivka became a Ship Fitter on Naval vessels before joining the Merchant Marine in 1942.
After the War, Slivka moved to Manhattan where he studied painting under Stanley William Hayter. It was through Hayter that Slivka was introduced to other contemporary artists like Joan Miro, Jacques Lipchitz, and Romar Bearden. An early member of The Artists’ Club, Slivka also began to exhibit with many artists from the New York School like Jackson Pollack, Willem de Kooning, Joan Mitchell, and Franz Kline.
During this time Slivka also changed his artistic style from the figural, evident from his earlier PWA commissions, to the abstract. The artist began to work in carved marble but eventually turned to lost-wax bronze casting. In 1951, after the death of his friend, the Welsh poet, Dylan Thomas, Slivka was asked to make a death mask Continue reading →
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