Wal-Mart store map, circa 2008.
In 1995 David C. Korten wrote “When Corporations Rule the World,” an important book that synthesized the history of corporate rule in the US. Like most books that present thoroughly depressing material on how corporate power has run amok, he ended it with a chapter on how to fight back. His timing was ideal. The mid-1990s was an era when social justice movements were beginning to move away from single-issue campaigns and started to aim their sites at those at the top who controlled the economic pyramid. 1999 became synonymous, at least in activist circles, with Seattle (November 30) and the anti-globalization movement. The call for fair trade momentarily drowned out the practice of free trade.
Twelve years later corporate capitalism is still pillaging the planet but one great result of the on-going anti-globalization struggle can be found in the emphasis to build alternative movements – be it the independent media movement, the organic food movement, or any other number of grassroots movements and infrastructures. In my hometown of Milwaukee, I can look at a number of collectives, community groups, businesses, and urban farm projects with great pride – projects that embody community based economies. A short list would include the Riverwest Food Co-op, the Walnut Way Conservation Corp, Sweetwater Organics, and Growing Power.
At some point during the first 48 hours of the occupation of Wall Street (or to be more exact, the encampment at Zuccotti Park, north of Wall Street), people there began painting and drawing signs on pieces of discarded cardboard. These signs, most of them simple slogans on old pizza boxes, have been laid out on the ground across a good quarter of the park, a cacophonous patchwork of words and images, many contradicting each other, some even contradicting themselves. When at the occupation, the first thing I am struck by is the explosion of people—talking, drumming, screaming, laughing, sleeping—but it is these signs that are the most striking graphic element. They contain some of the few visible graphics, but they are also some of the few messages easily read by those not engaged in the occupation itself, so there is regularly a diverse crowd of visitors and passersby viewing, discussing, and critiquing the signs. Stylistically some are witty and clever, some bold and direct, some naive and simple, some awkward, confused, and misspelled, but what content do they communicate? To me they represent the complicated jumble of ideas and motivations swirling in the background of this action. These signs represent the voices of hundreds of individuals. In some ways this is a refreshing contrast to a typical leftist event, where we are used to hearing or seeing the more controlled and crafted messages of the array of organizations that are often the backbone of political action (be it community groups, electoral parties, unions, or socialist cadre organizations—who often create mass-produced signs and distribute pre-printed newspapers and flyers).
Here's week three of covers of the German anti-capitalist paper Agit 883. This week I want to look at the covers that use the conventions of popular comic books to convey political ideas. Although there was a huge alternative comics scene that developed in the US in the late 60s, it was often more challenging aesthetically than politically "radical" in content. Outside of Spain Rodriguez and a small number of other artists that did some comics about political histories (such as those in Anarchy Comics), the U.S. was much more counter-culturally identified. It appears as if Agit either borrowed clearly political comics for a number of covers, or had a comic artist in their crew (issue #24 to the left is a good example).
This has been a crazy week, with much time spent at the Wall Street Occupation, so I'm going to leave it at that for now, and mostly let the covers speak for themselves.
It may appear to our regular blog readers that all of Justseeds is cavorting around Europe at international art biennials, but it isn't true! I've been at home in New York hanging around the Occupation of Wall Street, and if you are in NYC, you should be too! There has been little mainstream news, but an evolving crowd of 200-400 people have been living, working, and sleeping—day and night—at a small park just north of Wall Street—Zuccotti Park, at the corner of Broadway and Liberty—and another 200 or so people have been coming and going during the daytime. In this day and age of politics being defined by quantity, this may not seem like a large protest, but that's at least 300 people sleeping outside and occupying this park for an entire week!
More analysis later, but for now I'll show you some pictures and simply say that the occupation is both very exciting and a bit confusing to a counter-globalization movement veteran like myself. Almost everyone is 25 or under, and the assembly process is somewhat like, but also distinct from, the spokes council system we used 10 years back. This is definitely an attempt at direct democracy on a small scale, which is then strangely hitched to more reformist and electoral goals...More on this later, but for now, if you can, come down and show your support. Check out the live video feed of the occupation HERE, and the twitter feed with continuous updates is #occupywallst.
image: Cardboard signs with a diversity of occupiers statements and demands line the ground of Zuccotti Park on Monday.
Lincoln Cushing has just put online a new essay about U.S. New Left printshops that accompanies the new exhibition Peace Press Graphics 1967-1987: Art in the Pursuit of Social Change. His essay starts out with an Associated Press quote below, and then you can and should read the rest of it HERE.
"Red in black and white: The New Left printing renaissance of the 1960s – and beyond"
by Lincoln Cushing
"The information officers of the New American Left have rediscovered an ancient political ally: print power. All over the country, radical and "movement" organizations have spawned their own print shops run by their own pressmen to churn out an increasing number of posters, pamphlets, handbills, and flyers. Whether it's to mobilize a march on Washington, explain the advantages of "Free Speech” for GIs, or advertise courses at "Omega U. - an alternate university," the rebel presses are rolling. By the thousands, their folded-and-stapled brochures, decorated with crude graphics, are being given away at hastily set up campus tables or sold in the standard subculture outlets: Barbara's Bookshop in Chicago, the Granma in Berkeley, the Militant Labor Forum in New York, and scores of others."
image: “Glad Day’s biggest press, a Chief 126.” Photo from “Left Profile: Glad Day Press” in Liberation Support Movement News, Winter 1978.
We've just wrapped up our installation for the 29th Graphics Biennial in Ljubljana, Slovenia at the Alkatraz Gallery in amazing Metalcova! I've posted a ton of new photos on our Flickr just now, have a look...
Just saw this, Printed Matter is reissuing the amazing book GAAG, The Guerrilla Art Action Group, 1969-1976, which has been out of print for almost 30 years. There was a pdf of this book floating around for awhile, but it is great that it's going to be in print again. I don't think I can describe GAAG better than Printed Matter, so here's their info about the re-release:
Printed Matter is very pleased to announce the reissue of our long out-of-print publication GAAG: The Guerrilla Art Action Group, 1969-1976: A Selection, first published in 1978. The book serves as the primary text to the significant work of the activist artist group GAAG (Jon Hendricks, Poppy Johnson, Silvianna, Joanne Stamerra, Virginia Toche and Jean Toche), both as a document of the group’s ideological and logistical concerns, and more broadly as a historical record for 52 of the many political art actions they carried out through the late Sixties and early Seventies.
Guided by their belief that art and culture had been corrupted by profit and private interest, GAAG formed in October 1969 as a platform for social struggle. Their work asked how artists could work effectively towards meaningful change, most often through direct provocation and confrontation—symbolic, non-violent actions staged in protest and ridicule of the ethical failures by the art and media establishments, as well as the US government. Their activities defied the brutal, close-minded workings of an artistic/political system that traded in dirty money, served the elite, established a trivial cultural canon, and perpetuated bloody wars abroad.
Today Colin showed up after a couple days on trains and planes, and we've started pasting images on the walls! Everyone present brought multiple images of migrant humans and displaced animals - we have dozens of multiples of about 50 different images, each reflecting the individual styles of various Justeeds members. They're being pasted in vast "swarms" all over the room, surrounding this shipping container that we're still hammering away at. It's coming together pretty rapidly at this point, so stay tuned for new uploads on our Flickr page throughout the rest of the week! Photostream here, Slovenia-specific collection here. The opening is tomorrow night, Thursday, at 9pm at Galerija Alkatraz, Metalkova - if you're in Ljubljana, Slovenia, come on by!
Back in 2007 I curated an exhibition with my friend Zoeann Murphy at the Workforce Development Institute called Graphic Work: Imaging Today’s Labor Movement. It was a great show, and the WDI is working on another one, this time around the role of women in the labor movement. Check out their call:
Workforce Development’s Art of Labor project seeks Graphic Posters made by women with the theme “Women and Work.” Please interpret this theme as you desire and send existing artwork is encouraged.
*5 finalists will receive:
• $100 prize
• Professional prints of your poster (amount TBD)
• One set of winning posters.
• Premiere exhibition at WDI’s Women’s Initiative conference on March 2012
• Distribution though WDI
• Your poster design (digital and print) will be archived in NYU’s Robert F. Wagner Archives.
*All poster submissions (1 per artist) will be exhibited at March event & archived at NYU’s Robert F. Wagner Archives in NYC
We're rolling out of our second full day in Ljubljana, with a shipping container created out of scrap wood and the walls washed and dotted with "obstacles". Tomorrow we're set to start pasting a mad number of prints all over the place. Posting new photos on our Flickr collection every few hours, check in often for updates as the whole thing comes together! Sorry if these posts are vague, I'm hoping the photos will fill in the gaps that I don't otherwise have time to write about...
I'm at CalState Long Beach today and tomorrow! I'll be on a panel today, Tuesday and doing a solo lecture on Wednesday. Info is below. Come through if you are in the LA Area!
Art Department Visiting Artist Lecture Series, featuring Favianna Rodriguez
Wednesday, September 21, 5:00 pm
CSULB Department of Art, UT-108, 1250 Bellflower Blvd, Long Beach CA 90840
Graphics are powerful living reminders of struggles for worldwide peace and justice. I will share various slides of my current projects, discuss my own creative process for developing my work, as well as my creative inspiration. Topics covered in my lecture include globalization, immigration, women, sex positivity, and youth organizing. More info here.
Organizing the Ideal: Contemporary Collectives & Cooperatives
Tuesday, September 20, 2011, 3:00-5:00pm
University Art Museum 1250 Bellflower Blvd. Long Beach, CA
One of the pivotal aspects of Peace Press’ success was its dedication to consensus decision-making. By implementing worker control through all aspects of production, the collective successfully merged the ideal with the practical, creating a non-hierarchal space benefitting those who made contributions. This panel presents contemporary collectives and cooperatives that continue to offer an alternative to capitalist-related models. Members of decentralized collectives and cooperatives explain how production can be based on mutual aid rather than merely profit. The panel is a part of the exhibit, PEACE PRESS GRAPHICS 1967-1987: Art in the Pursuit of Social Change showing in the University Art Museum through December 11, 2011. I will speaking together with Zach Blue (AK Press – an anarchist publication press that releases radical literature, art prints and multimedia materials) and Brent Aragon (Blood-Orange Info Shop – an anarchist information center dedicated to community outreach, education, and art). More info here.
We're deep into the installation of our work for the 29th Graphics Biennial in Ljubljana, Slovenia! As a customary first step, we're currently washing the walls with watered down wall paint. Twelve of us are here working in the Alkatraz Gallery in the Metalkova social center - we're still feeling our way through the whole process but things are moving rapidly. I'll be posting new photos here each day, but the majority will be in regular uploads to our Flickr page for those who want to follow from afar...
Those of us who normally run the shipping department here at Justseeds will all be in Europe for the next 3-5 weeks for a number of events and a little bit of exploring. We've hired our friend Artnoose to keep the whole dirigible in the air in our absence, so if you order something from our store in September/October, she'll be packing it (wholesale customers should be the only people who may have to wait longer than usual)! Artnoose is a Pittsburgh-based printer known mostly for her bi-monthly letterpress zine Ker-Bloom!, which she's been doing for the last 15 years. She also does custom letterpress invitations through Deep Ink Letterpress. If you're in the Pittsburgh area on Sundays, stop in to the office (we're open 2-6pm) and say hello! In the meantime, we sat down for a silly, Tigerbeat Magazine-inspired interview with Artnoose right before we left - read below...
Here's week two of covers from the German 60s/70s publication Agit 883. Last week (HERE) I looked at the covers of the first 13 (of 88) issues, and broke the covers roughly into four different design types. This week I'm going to look at some of the covers that fall into type 1: variations on the singular illustration or editorial cartoon as central graphic element.
Issue 18 to the right is a perfect example, the large title "Kollectiv" and the illustration of 9 people—represented as camels—fill the cover. Not exactly sure of the context of the image, but possibly the 7 tethered to the Agit logo are cartoons of the editorial staff?
I was recently in Berlin with my partner, and we got to catch the awesome Hokusai exhibit at the Martin-Gropius-Bau museum. Which according to what the people in the museum said, “the works of the master print maker had never left Japan before”.
Today was our first real day working on the installation for the Biennial of Graphic Arts in Ljubljana. Kevin and Santiago have been in Slovenia for a couple days, while Erik, Thea, and I all arrived yesterday. This afternoon, Jesse, his partner Chandra, and Molly arrived. During the course of 13 hours, we did an extensive amount of planning, cut hundreds of screen prints, and scoped the exhibition space.
Although he couldn’t make the trip, the streets of Ljubljana are cut from the imaginary of a Pete Yahnke Railand print.
Our friends from Black Mesa Indigenous Support are an awesome group of folks and do fantastic work. I am going to be going out to Black Mesa for the first time and I am really looking forward to it! Check out the call out below...
Join the Caravan in Support of Indigenous Communities Who Are in Their Fourth Decade of Resisting Massive Coal Mining Operations on Their Ancestral Homelands of Big Mountain & Black Mesa, AZ. November 19th – 26th, 2011
Communities of Black Mesa Have Always Maintained That Their Struggle for Life, Land, & Future Generations Is For Our Collective Survival.
Greetings from Black Mesa Indigenous Support,
We are excited to once again extend the invitation from Dineh resisters of the Big Mountain regions of Black Mesa in joining a caravan of work crews in support of the on-going struggle to protect their communities, ancestral homelands, future generations and planet that we all share. These communities are in their fourth decade year of resistance against the US Government’s forced relocation policies, Peabody Coal’s financial interests, and an unsustainable fossil fuel based economy.
A month or so back Printeresting ran a great feature on a recent project Erik Ruin worked on called Neighbor Ballads. Check out the article HERE, it's a really nice overview of the project with some photos of Erik's work!
I'm not normally a big fane of Rock Poster art, but I've always had a soft spot for Jay Ryan, and I love this new poster for his show in Rome at my favorite Italian gallery, The House of Love and Dissent!!! According to the House: "On 16 and 17 September come to know the poetry and the imagination of the artist most beloved by the American independent rock scene." More info on their website HERE.
Opening this Friday September 16: The 2011 Pittsburgh Biennial at the Miller Gallery, featuring new installations by Justseeds, Transformazium, SubRosa, Sarah Ross, Ryan Griffis and Lize Mogel, and the Temporary Services Self Reliance Library.
This facet of the Biennial, curated by Astria Superak, focuses on artist collectives and collaboration. It is also the last night in town before many of us head to Slovenia, and special guest seed Nicolas Lampert will be at the opening!
(timing and events details below)
Our friends over at Groundswell Design Collective have been busy, and are part of a group producing a new journal called Scapegoat. The first issue is themed Service, and looks quite good (haven't seen it in person yet), a strong international collection of essays about the intersection of architecture, urban space, design, and politics. You can read a lot more about it over on Groundswell's blog HERE.
A copy of issue 01 can be purchased HERE.
The image to the right is by Frank Chimero, from Scapegoat.
We're getting ready to debut our huge installation in Pittsburgh this weekend as part of the 2011 Pittsburgh Biennial! We worked a lot throughout the summer, with one heavy group work week this July, to produce a series of immigration-themed billboards in the Miller Gallery at Carnegie Mellon University. Above is a slideshow of our in-progress install shots from our Flickr site - have a scroll-through! The installation was coordinated by Pittsburgh-based Justseeds members, exhibition curated by Astria Suparak. Stay tuned for more details, and visit the overall Biennial website here (details specific to the Miller Gallery show are here). The opening reception is this upcoming Friday, Sept.16 - please come by if you're in the neighborhood! Opening is 6-8pm, but there's an exhibition tour with all the artists (not just us) at 5pm.
I recently came across Tahrir Documents, an amazing website and resource that is archiving, scanning, translating, and representing a huge collection of documents, fliers, posters, and newspapers produced as part of the Egyptian Revolution and the occupation of Tahrir Square. Check it out HERE.
To the left is a hand painted sign which states, "Happy spring, Egypt!"
My friend Chas just forwarded me this link to a real awesome website dedicated to Labor Arts. Their mission: "To present powerful images that encourage understanding and appreciation of the overlooked contributions working people make to our society."
There are some great photos, murals, pamphlet art, and other inspiring imagery. I figured I would forward the link for interested folks!
Lately, I have been enamored with hiking and backpacking blogs, particularly those interested in retro outdoors gear and the centrality of the so-called out-of-doors. As I enter middle age, I become progressively less interested in the pace of urban living and increasingly return to my childhood experiences of rurality. Maybe the misanthropic views of fellow Justseed Roger Peet are wearing off on me or possibly it is the nostalgia for my own childhood spent in the woods. Either way, I am beginning to realize that I don’t desire to live in big urban settings. In fact, they actually make me depressed and somewhat unhappy. For too long, I have been enamored with the politics of urban intellectual and radical thought, often dismissing the realities that can and do exist at urbanity’s margins, even here in the rural spaces of North America. No longer do I think that I need to live in New York or Chicago or Mexico City or Toronto to work in a way that challenges people. My own collegetown realities and rural lifestyle may, likewise, transform the social institutions that I detest. Maybe this is just me explaining my life in Michigan.
Continuing and expanding on last week's post on the covers of Sabat, an '80s German ultra-left magazine, this week I'm going to go way to the late 60s, and look at some of the covers of one of the publications that was a main organ for the emerging German ultra-left and armed left, Agit 883. Agit 883 published 88 issues between 1969 and 1972. Little is written about it in English, but there is a great book in German about the publication, Agit 883: Bewegung, Revolte, Underground 1969-1972 (Assoziation A, 2006) which includes a CD which contains pdf scans of all the papers, including the covers (which is where the ones here come from). Those scans are also available online HERE. The paper was founded by Dirk Schneider (and possibly others) and had a rotating editorial staff over it's four years of publishing. It began with a Marxist/critical theory bent, but became more anarchist and anti-Leninist over time. It appears that the paper split and eventually ceased publication because of a combination of internal political disagreements and state repression, both largely related to support for the RAF and other armed groups.
I'm not going to show all 88 covers, but I'll look at the first 13 issues this week, and then look at more of the run over the following couple weeks. Like many '60s German counter-culture papers, Agit 883 covers started out as mock versions of existing German publications (this is also true for Linkeck and Fizz, both of which I'll look at in future posts). The cover of issue #1 (left) looks like a more traditional newspaper with a little Dada thrown in, and issue #2 (below) places the Agit 883 logo behind a clipped out title for Die Deutschen Bullen (which itself is emerging from a clip art pile of riot cops).
The Eye, The Hole, The Picture
at the McCord Museum
690 Rue Sherbrooke Ouest, Montreal
from September 2 to November 20, 2011
presented as part of Le Mois de la Photo a Montreal 2011
More information HERE.
PRINTS FOR THE PEOPLE is a exhibition featuring work by Dignidad Rebelde, a graphic arts collaboration between artists Melanie Cervantes & Jesus Barraza. Emerging from the everyday struggles of Raza & Indigenous peoples, Dignidad Rebelde produces art intended to transform people's stories into a radical visual language that is then returned to those who inspired it in the first place. Working primarily as poster artists, Dignidad Rebelde continues working in an important artistic tradition deeply rooted in popular social movements throughout the Americas.
August 1st Through September 28th, 2011
Cultural Heritage Center at the San Jose State University Dr. Martin Luther King, Jr. Library (for more info, click HERE)
There is going to be a sneak peak of four prints from the Justseeds/IVAW portfolio, War Is Trauma, at the upcoming exhibition, War, Materials & Lies, Part 2, in Hudson, NY. Prints from the portfolio by Kevin Caplicki, Molly Fair, Josh MacPhee, and Chris Stain will be included in the show!
War, Materials & Lies, Part 2
Time & Space Limited
434 Columbia St, Hudson, NY
Opening reception 5:00 - 7:30 Saturday, September 10th.
Gallery Hours: Mon - Fri: 11am - 3pm; 1hr before weekend events and by appointment from Saturday, September 10th to Friday, November 11th
This weekend is the giant LA vs War show, if you are in the Los Angeles area, definitely check it out!!! Full details can be found HERE. A ton of artists have work in the show, including Jesus Barraza, Melanie Cervantes, Favianna Rodriquez, and myself from Justseeds.
A friend of mine recommended that I take a picture of the stencil armature I built for a print I just finished, and I figured I might as well write up a whole How-To. Many of us in Justseeds are finishing up a run of prints for an upcoming portfolio we're doing with the Iraq Veterans Against the War, something of a followup to the Operation: Exposure street campaign we did last November in Chicago. I didn't make an image for the original campaign, so I needed to start fresh for this portfolio...
Workers from the International Longshore and Warehouse Union (ILWU) are waging a critical fight in Longview, Washington - blocking trains and scab labor, and showing the rest of the country that standing up for one's rights can and should go far beyond simply marching and recall elections - aka the failed labor strategy in Wisconsin.
Sunday September 11th
3410 Penn Ave, 2nd floor (enter in the back on Spring Way), Lawrenceville, Pittsburgh, PA!
Come visit our world distribution headquarters in Pittsburgh this Sunday for a print sale to support our travel to Slovenia to create a collaborative installation for the International Biennial of Graphic Arts. Almost everything in the store will be 10% off if you pay by cash or check, 20% off work by Pittsburgh Justseeds artists who are traveling: Shaun Slifer, Mary Tremonte, and Bec Young.
Come learn more about our upcoming projects, enjoy refreshments and see us off!
Next year's Justseeds/Eberhardt Press organizer is about to go to press! This is a cleanly designed, uncluttered, wirebound datebook featuring 12 months of Justseeds art, a lunar phase calendar, notepages, and months-at-a-glance. It will be available in the Justseeds store October 15th, so make sure you don't buy any other organizers before then!
Memorial de Agravios, Oaxaca, Mexico, 2006 brings together the work of 24 photographers who followed the social movement in Oaxaca during 2006 and 2007, along with essays by five Mexican writers translated into English, French, and Italian. A remarkable edition, conceived as an art book is a testimony to the difficult months in which citizens confronted the corrupt administration of Governor Ulises Ruiz Ortiz, is an independent work which encourages critical reflection on the violence that dominated Oaxaca during 2006 and 2007.David Jaramillo, photojournalist/activist from Mexico City, covered the movement, will discuss the trajectory of the movement, its current state, and present images of the uprising. Copies of Memorial de Agravios will be sold to benefit widows of this movement
172 Allen St
It took awhile for me to realize that there was handwriting on the wall text, then I had to laugh at myself.
Not a laughing matter is how the Catholic Church harbors men that molest young people. I grew up and attended a church that did just that. Father Ed, moved from a church just 12 miles down the road in another town, preyed on many of my friends and peers. I thank him for placing the last, proverbial, "nail in the coffin" for me. I became an Anarchist as a result of his behavior and read Michael Bakunin's God and the State. I'd like to suggest the opposite of the imperative in this photo and ask all the priests to do only that.
Archdiocese Lists Priests Accused of Abuse
By ABBY GOODNOUGH
Published: August 25, 2011
BOSTON — The Archdiocese of Boston on Thursday published a partial list of clergy members accused of sexual abuse, nearly a decade after a scandal erupted here involving widespread abuse by priests and revelations that the archdiocese had been shielding molesters for years.
Read the rest at NYTimes.com
The hacktivist collective Anonymous released the following video, promising to shut down Facebook on the 5th of November of 2011 for the sake of privacy and a response to state control.
Even if another cyber social network may follow I wish them total success.
Milwaukee was festive today with a large labor day parade today that showcased the best attributes of the city - diversity, dissent, and creativity. The "Recall Walker" signs were out in force, as was an incredible array of floats and puppets created by the "All City People's Parade." My personal favorite was the "Wheel of Misfortune" float that spoke volumes about the draconian cuts that the Milwaukee Public School system has faced.
I think I'll keep exploring the covers of obscure ultra-left political journals for awhile! Although not exactly known for their graphic sensibilities, there are definitely some interesting looking antiauthoritarian political journals out there, including a whole bunch from Germany. Last year I picked up five issues of Sabot: Hamburger Info Sammlung (Hamburg Info Collection), a 1980s squatter/anti-imperialist/autonomen publication based out of Hamburg. It ran for 23 issues from 1985-1989. Because of its support of the armed wing of the German left (RAF, etc.), especially through printing communiques with little or no commentary, the publication was often facing state repression—publishers were arrested and imprisoned,—and it was discontinued after the 23rd issue.
"From the Ashes: Works by Dylan Miner"
Michigan Institute for Contemporary Art
September 4 - 30
"We can bring to birth a new world from the ashes of the old."
– Ralph Chaplin, Solidarity Forever (1915)
A couple years back on a trip to San Francisco I was lucky enough to check out a then new exhibition entitled Hobos to Street People: Artists' Responses to Homelessness from the New Deal to the Present. It was a great show, using the history of American social realist art to illustrate the plight of the marginalized in society. Now the curator Art Hazelwood has new book out which catalogs the exhibition! The book, also called Hobos to Street People, is available from the publisher Freedom Voices, and there are a series of upcoming events celebrating it's release:
September 15, book release party at Alliance Graphics
September 22, Exhibition opening reception at de Saisset Museum, Santa Clara University
September 29, Panel Discussion and book release party at de Saisset Museum
More information can be found on Art's site HERE.
Today I put the final touches on the mural that's been my summer job. It's on the Citybikes Annex building at 8th and Ankeny in Portland, Oregon (Click here for more images on my Flickr page). Painting it has been a real pleasure and a pleasing exercise in concept and execution. Now that it's done I can finally get to work on making images for our upcoming installation in Slovenia! This has been a truly epic summer of art, and I'll be sad to see it go.
John Greyson, a Toronto-based filmmaker and activist, has been making a series of great videos in support of the BDS Movement (Boycott, Divestment, Sanctions against Israel). He's also been on the flotilla's to Gaza. (There is an interview with him HERE.)His videos are a great amalgamation of found footage, pop culture, documentary, and activist video. This one here is one of the best: