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A profile in The College Voice, the student newspaper of Connecticut College,ofan activist-turned-artist named Mike Alewitz details his radical, politically charged career that is characterizedas muchbythe provocative works heproduced as bythe incidents of censorship theworks inspired.

Alewitz, aformer professor atCentral CT State University,who earned his MFA from theMassachusetts College of Art in 1983, is best known for his murals depicting the American labor movement. According to the profile author, his "stories are a routine of acceptance and decline, of struggle and movement. His pieces are vibrant, loud, colorful. They declare to be acknowledged."

In the profile, Alewitz, now in his 60s, tellsthe story of his life's work through a tour of his Connecticut home, identified "by its fiery red exterior and vibrant pink detail," where he sits at his dining table accompanied bya make-up smeared mannequin and a "large, plastic bunny with long white ears."

His story begins as an undergraduate at Kent State University, where his witnessing of the Kent State massacrefurthered his motivationas an anti-warorganizer. At the time of the massacrehe was the university'sChairman of the Student Mobilization Committee Against the War (SMC). After the shooting,

he left to become an organizer for anti-war movements, traveling to Austin, Los Angeles, Cleveland, New Orleans, Virginia, Boston, New Jersey. At the time he began working for the union movement, he was in industry as a railroad worker and machinist. He even laid some of the railroad tracks in New London, Connecticut that remain about half a mile from his house. While working, Alewitz picked up sign painting and billboard painting before going to the Massachusetts School of Art in his late thirties. He considers this the beginning of his art career. I had the background, he tells me. I could render.

As an MFA student, Alewitz had his first encounter with the censorship of his work. A column he painted in tribute to a local back man killed by the police was subsequently graffitied by the police and then painted over by the authorities. Since then, the profile explains, "Alewitz has been devoted to agitprop work, a combination of agitation and propaganda, which he also refers to as 'high grade street art'."

Alewitz garnereda reputation for works that paid tribute to labor groups, such as the International Confederation of Energy and Mine Workers and UNITE The Union of Needletrades, Industrial, and Textile Employees, murals that reflected his political perspective;his sense of antipathy toward the capitalist system. The author notes that an adjacent room in his house is lined with booksKarl Marx, Frederick Engels, and Lenin.

Yeah, hetells the profile writer,Im the real deal.

According to the profile, Alewitz keeps boxes of press articles about incidents of censorship his works have produced. In 1999, for example, he was funded to produce a series of muralscalled Dreams of Harriet Tubman. The central mural he painted "shows Harriet Tubman holding a gun and on either side of her are red swirling waves. Silhouettes of people cluster and crowd at her feet." The mural was never made public, however:

Youre in a place where there are statues with white men with guns everywhere and they cant his voice trails off as he tells me the story. I painted the only image of a womana Black womanwith a gun. After the mural was rejected, Alewitz issued an offer for a free mural but no one would provide a wall. Everybodys afraid, he says. It was censorship and not the kind that helps your career.

Alewitzs history with censorship iswell known to NCAC.In 2014, for example, the Museum of the City of New Yorkrefused to display his mural at the inaugural exhibition of the museums Puffin Gallery for Social Activism.Despite the overtly left-leaning politics of the Puffin Foundation,which commissioned the mural for theireponymous gallery, the museum was reluctant to be associated with the murals unvarnished, left-wing, pro-labor views.NCAC urged the museum and the foundation to open a dialogue about how this mural, which depicts the struggles of radical labor and civil rights movements in our society, can be presented to the public.

Read the rest of the interview withThe College Voice, which takes the readerthrough Alewitzs house and studio, floor by floor, mural by mural, story by story. As the profile writer comments:

There is a book in every one of these stories, he says. [] There are novels behind his paintings and behind those novels are history books. His house is a time capsule.

Summer Wrobels interview with Mike Alewitz, The House on Federal Street: Meet New Londons Resident Censored Artist, appeared in The College Voice on April 4, 2017. Read the full piece here.Take a tour through one of Alewitzs mural proposals here.

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An Art Career Intertwined with Censorship: The Murals of Mike Alewitz - Blogging Censorship (blog)