new mural

LONDON — A new mural by elusive street artist Banksy showing a judge beating an unarmed protester with a gavel has appeared outside a London court.

The mural depicts a protester lying on the ground holding a blood-splattered placard while a judge in a traditional wig and black gown beats him with a gavel. Banksy posted a photo of the work Monday on Instagram, his usual method of claiming a work as authentic. It was captioned “Royal Courts Of Justice. London.”

While the artwork does not refer to a particular cause or incident, activists saw it as a reference to the U.K. government’s ban on the group Palestine Action. On Saturday almost 900 people were arrested at a London protest challenging the ban.

Defend Our Juries, the group that organized the protest, said in a statement that the mural “powerfully depicts the brutality unleashed” by the government ban. “When the law is used as a tool to crush civil liberties, it does not extinguish dissent, it strengthens it,” the statement said.

Security officials outside the courthouse covered the mural Monday with sheets of black plastic and two metal barriers, and it was being guarded by two officers and a CCTV camera.

Banksy began his career spray-painting buildings in Bristol, England, and has become one of the world’s best-known artists. His paintings and installations sell for millions of dollars at auction and have drawn thieves and vandals.

Banksy’s work often comments on political issues, with many of his pieces criticizing government policy on migration and war.

At the Glastonbury Festival last year, an inflatable raft holding dummies of migrants in life jackets was unveiled during a band’s headline set. Banksy appeared to claim the stunt, which was thought to symbolize small boat crossings of migrants in the Channel, in a post on Instagram.

The artist has also taken his message on migration to Europe.

In 2019, “The Migrant Child,” depicting a shipwrecked child holding a pink smoke bomb and wearing a life jacket, was unveiled in Venice. A year prior, a number of works including one near a former center for migrants that depicted a child spray-painting wallpaper over a swastika were discovered in Paris.

Banksy has also created numerous artworks in the West Bank and Gaza Strip over the years, including one depicting a girl conducting a body search on an Israeli soldier, another showing a dove wearing a flak jacket, and a masked protester hurling a bouquet of flowers. He also designed the “Walled Off Hotel” guesthouse in Bethlehem, which closed in October 2023.

Last summer, Banksy captured London’s attention with an animal-themed collection, which concluded with a mural of a gorilla appearing to hold up the entrance gate to London Zoo.

For nine days straight Banksy-created creatures — from a mountain goat perched on a building buttress to piranhas circling a police guard post to a rhinoceros mounting a car — showed up in unlikely locations around the city.

Doye writes for the Associated Press.

Nine months after his death, Fernando Valenzuela stands immortalized in a new mural on the loge‑level wall at Dodger Stadium — a vibrant fusion of art and legacy unveiled Saturday.

Painted by Mexican American artist Robert Vargas, the mural shows Valenzuela tipping his cap to the sky in a Dodgers Mexican‑heritage jersey — featuring a green sleeve, red sleeve, white center — alongside two striking images of Valenzuela in his pitching stance. Vargas said the mural is meant to symbolize unity within the Latino community.

“I felt it very important to show that the Latino community has a place within these walls and has had a place within these walls,” Vargas said.

He wanted to reflect Valenzuela’s spirit that still lives in the hearts of many fans and feature the man behind the player.

“What he did in the community, is what resonates so much more for me than just the player — but the man, the person that he was,” Vargas said.

Valenzuela played for the Dodgers from 1980 to 1990. He grew up in Etchohuaquila, a small town in Mexico, and took Major League Baseball by storm in 1981, earning rookie of the year and Cy Young honors. Latino fans who previously felt little connection to the Dodgers were thrilled to see one of their own winning, sparking Fernandomania. Valenzuela wore No. 34 and it remains a popular jersey worn by fans at Dodger Stadium.

Claudio Campo choked up as he gazed at the tribute. Traveling from Phoenix with his son to celebrate the boy’s 11th birthday, Campo shared memories of a player whose greatness felt deeply personal. Valenzuela’s nickname, “El Toro,” are inked on Campo’s left arm.

“He was a staple for the people that didn’t have anything and then where he came from showed that anything is possible if you go ahead and revive what you are,” Claudio said.

Fans holding Valenzuela bobbleheads given away by the Dodgers took their pictures in front of the new mural Saturday night.

Longtime fan Dulce Gonzalez held back emotion as she showed off her shirt with the name “Valenzuela” written across it, describing the reason she started watching baseball.

“He was the first Latino player I could truly connect with and be proud of,” she said.

For Gonzalez, Valenzuela’s story resonated because he came from the same roots, offering representation she had longed for.

“We are a melting pot of races here, people love baseball from all races, but because I am Latina, I feel a little bit more connected,” she said.

Her son, Nicolas, dressed in a red and green Dodgers Mexican-heritage jersey, said Valenzuela helped heal some wounds after Mexican American families were displaced from their homes in Chavez Ravine shortly before Dodger Stadium was built on the same land.

“He really opened the city up to the Dodgers after a long difficult entry and he really represented triumph over adversity,” Nicolas said.

ROUBAIX, France — As statements go, it’s a big one.

A towering mural in France of the Statue of Liberty covering her eyes is racking up millions of views online with its swipe at President Trump’s immigration and deportation policies.

Amsterdam-based street artist Judith de Leeuw described her giant work in the northern French town of Roubaix, which has a large immigrant community, as “a quiet reminder of what freedom should be.”

She said “freedom feels out of reach” for migrants and “those pushed to the margins, silenced, or unseen.”

“I painted her covering her eyes because the weight of the world has become too heavy to witness. What was once a shining symbol of liberty now carries the sorrow of lost meaning,” de Leeuw wrote in a July 4 post on Facebook, when Americans were celebrating Independence Day.

Her depiction of the Statue of Liberty, a gift from the French people in the late 1800s, has inspired some sharp criticism.

Rep. Tim Burchett, a Republican lawmaker from Tennessee, wrote in a post on X that the work “disgusts me.” He said he had an uncle who fought and died in France, where U.S. forces saw combat in both World War I and World War II.

In an interview with the Associated Press, de Leeuw was unapologetic.

“I’m not offended to be hated by the Donald Trump movement. I am not sorry. This is the right thing to do,” she said.

The town stood by the work, with its deputy mayor in charge of cultural affairs, Frédéric Lefebvre, telling broadcaster France 3 that “it’s a very strong and powerful political message.”

Since returning to the White House amid anti-immigration sentiment, Trump has launched an unprecedented campaign that has pushed the limits of executive power and clashed with federal judges trying to restrain him. People from various countries have been deported to remote and unrelated places like South Sudan and the small African nation of Eswatini.

Polling by Gallup released last week showed an increasing number of Americans who said immigration is a “good thing” and decreasing support for the type of mass deportations Trump has championed since before he was elected.

The mural in Roubaix is part of an urban street culture festival backed by the town. Roubaix is one of the poorest towns in France. It was economically devastated by the collapse since the 1970s of its once-flourishing textile industry that used to attract migrant workers from elsewhere in Europe, north Africa and beyond.

Plazy writes for the Associated Press. AP journalists Ahmad Seir in Amsterdam and John Leicester in Paris contributed to this report.