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if ($a.is_logged_in() && $viewedUser.is_current_user()) { $('body').addClass('profile-viewed-by-owner'); } $socialProfiles = [{"id":39962863,"link":"http://gregsholette.tumblr.com/","name":"Facebook","link_domain":"gregsholette.tumblr.com","icon":"//www.google.com/s2/u/0/favicons?domain=gregsholette.tumblr.com"}]</script><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://qc-cuny.academia.edu/httpgregsholettetumblrcom","location":"/httpgregsholettetumblrcom","scheme":"https","host":"qc-cuny.academia.edu","port":null,"pathname":"/httpgregsholettetumblrcom","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="ProfileCheckPaperUpdate" data-props="{}" data-trace="false" data-dom-id="ProfileCheckPaperUpdate-react-component-bea91a55-22ff-4707-8d65-756356f1f150"></div> <div id="ProfileCheckPaperUpdate-react-component-bea91a55-22ff-4707-8d65-756356f1f150"></div> <div class="DesignSystem"><div class="onsite-ping" id="onsite-ping"></div></div><div class="profile-user-info DesignSystem"><div class="social-profile-container"><div class="left-panel-container"><div class="user-info-component-wrapper"><div class="user-summary-cta-container"><div class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="gregory sholette" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/673257/1065950/21198000/s200_gregory.sholette.jpg" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">gregory sholette</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://qc-cuny.academia.edu/">Queens College of the City University of New York</a>, <a class="u-tcGrayDarker" href="https://qc-cuny.academia.edu/Departments/Art_Studio/Documents">Art Studio</a>, <span class="u-tcGrayDarker">Faculty Member</span></div><div><a class="u-tcGrayDarker" href="https://harvard.academia.edu/">Harvard University</a>, <a class="u-tcGrayDarker" href="https://harvard.academia.edu/Departments/of_the_Design_and_the_Public_Domain_Program_at_the_Graduate_School_of_Design/Documents">Of The Design And The Public Domain Program At The Graduate School Of Design</a>, <span class="u-tcGrayDarker">Associate Faculty</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="gregory" data-follow-user-id="673257" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" data-click-track="profile-user-info-unfollow-button" data-unfollow-user-id="673257"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">done</span>Following</button></div></div><div class="user-stats-container"><a><div class="stat-container js-profile-followers"><p class="label">Followers</p><p class="data">1,266</p></div></a><a><div class="stat-container js-profile-followees" data-broccoli-component="user-info.followees-count" data-click-track="profile-expand-user-info-following"><p class="label">Following</p><p class="data">527</p></div></a><a><div class="stat-container js-profile-coauthors" data-broccoli-component="user-info.coauthors-count" data-click-track="profile-expand-user-info-coauthors"><p class="label">Co-authors</p><p class="data">5</p></div></a><div class="js-mentions-count-container" style="display: none;"><a href="/httpgregsholettetumblrcom/mentions"><div class="stat-container"><p class="label">Mentions</p><p class="data"></p></div></a></div><span><div class="stat-container"><p class="label"><span class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></span></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">MORE ESSAYS ARE FOUND AT: http://www.gregorysholette.com/ & https://gregsholette.tumblr.com/  Dr. Gregory Sholette is a New York-based artist, writer, teacher and activist. He is a Professor at Queens College, City University of New York (CUNY), as well as Co-Director with Professor Chloë Bass of Social Practice CUNY headquartered in the Center for the Humanities, Graduate Center, and an associate of the Art, Design and the Public Domain program of Harvard University's Graduate School of Design. Sholette holds a PhD in History and Memory Studies from the University of Amsterdam, The Netherlands (2017), he is a graduate of the Whitney Independent Study Program in Critical Theory (1996), Graduate of University of California San Diego (1995), The Cooper Union School of Art (1979), and Bucks County Community College (AAS 1976). Sholette is the curator of Imaginary Archive: a peripatetic collection of documents speculating on a past whose future never arrived. His art and research theorize and document issues of collective cultural labor, activist art, and counter-historical representation. He is active with Gulf Labor Coalition and was a co-founder of the collectives Political Art Documentation/Distribution (PAD/D: 1980-1988), and REPOhistory (1989-2000). His most recent publications include the books Delirium and Resistance: Activist Art and the Crisis of Capitalism (2017);  Art As Social Action (with Chloë Bass: 2018); Dark Matter: Art and Politics in the Age of Enterprise Culture (2011) currently being translated into Portuguese and Spanish editions.<br /><span class="u-fw700">Supervisors: </span>(PhD) dr. Christa-Maria Lerm-Hayes, the University of Amsterdam, the Netherlands<br /><b>Address: </b>119 Payson Ave. #6F<br />New York, NY 10034 USA<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><p class="ds2-5-body-md-bold">Related Authors</p></div><ul class="suggested-user-card-list"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://utexas.academia.edu/GalenStrawson"><img class="profile-avatar u-positionAbsolute" alt="Galen Strawson" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/5684/2195/760075/s200_galen.strawson.jpg" /></a></div><div class="suggested-user-card__user-info"><a 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href="/httpgregsholettetumblrcom/CurriculumVitae"><button class="ds2-5-text-link ds2-5-text-link--small" style="font-size: 20px; letter-spacing: 0.8px"><span class="ds2-5-text-link__content">CV</span></button></li><li class="profile-profiles js-social-profiles-container"><i class="fa fa-spin fa-spinner"></i></li></ul></div></div></div><div class="right-panel-container"><div class="user-content-wrapper"><div class="uploads-container" id="social-redesign-work-container"><div class="upload-header"><h2 class="ds2-5-heading-sans-serif-xs">Uploads</h2></div><div class="nav-container backbone-profile-documents-nav hidden-xs"><ul class="nav-tablist" role="tablist"><li class="nav-chip active" role="presentation"><a data-section-name="" data-toggle="tab" href="#all" role="tab">all</a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Papers" data-toggle="tab" href="#papers" role="tab" title="Papers"><span>32</span> <span class="ds2-5-body-sm-bold">Papers</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Blog-posts" data-toggle="tab" href="#blogposts" role="tab" title="Blog posts"><span>3</span> <span class="ds2-5-body-sm-bold">Blog posts</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Book-Reviews" data-toggle="tab" href="#bookreviews" role="tab" title="Book Reviews"><span>4</span> <span class="ds2-5-body-sm-bold">Book Reviews</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Talks" data-toggle="tab" href="#talks" role="tab" title="Talks"><span>2</span> <span class="ds2-5-body-sm-bold">Talks</span></a></li><li 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profile--work_container" data-work-id="94124392"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/94124392/Nature_as_an_Icon_of_Urban_Resistance_Artists_Gentrification_and_New_York_Citys_Lower_East_Side_1979_1984"><img alt="Research paper thumbnail of Nature as an Icon of Urban Resistance: Artists, Gentrification and New York City's Lower East Side, 1979-1984" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/94124392/Nature_as_an_Icon_of_Urban_Resistance_Artists_Gentrification_and_New_York_Citys_Lower_East_Side_1979_1984">Nature as an Icon of Urban Resistance: Artists, Gentrification and New York City's Lower East Side, 1979-1984</a></div><div class="wp-workCard_item"><span>Afterimage</span><span>, 1997</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">... that depicted an iconic cowboy on horseback with a bold caption that read &amp;quot;Area Nati...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... that depicted an iconic cowboy on horseback with a bold caption that read &amp;quot;Area Natives ... of-the-century workers&amp;#x27; organization known as the Industrial Workers of the World, or Wobblies. ... Dion&amp;#x27;s largely symbolic investigations, borrow from the little known history of left politics and ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="94124392"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="94124392"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 94124392; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=94124392]").text(description); $(".js-view-count[data-work-id=94124392]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 94124392; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='94124392']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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</script> <div class="js-work-strip profile--work_container" data-work-id="91948055"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/91948055/INTRODUCTION_TO_THE_ART_OF_ACTIVISM_AND_THE_ACTIVISM_OF_ART"><img alt="Research paper thumbnail of INTRODUCTION TO THE ART OF ACTIVISM AND THE ACTIVISM OF ART" class="work-thumbnail" src="https://attachments.academia-assets.com/95090760/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/91948055/INTRODUCTION_TO_THE_ART_OF_ACTIVISM_AND_THE_ACTIVISM_OF_ART">INTRODUCTION TO THE ART OF ACTIVISM AND THE ACTIVISM OF ART</a></div><div class="wp-workCard_item"><span>THE ART OF ACTIVISM AND THE ACTIVISM OF ART GREGORY SHOLETTE</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">* This is the introductory chapter to THE ART OF ACTIVISM AND THE ACTIVISM OF ART (Lund Humphries...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">* This is the introductory chapter to THE ART OF ACTIVISM AND THE ACTIVISM OF ART (Lund Humphries, UK, 2022) *<br /><br />Since the global financial crash of 2008, artists have become increasingly engaged in a wide range of cultural activism targeted against capitalism, political authoritarianism, colonial legacies, gentrification, but also in opposition to their own exploitation. They have also absorbed and reflected forms of protest within their art practice itself. The Art of Activism and the Activism of Art maps, critiques, celebrates and historicises activist art, exploring its current urgency alongside the processes which have given rise to it. Gregory Sholette approaches his subject from the dual perspective of commentator (as scholar and writer) and insider (as activist artist), in order to propose that the narrowing gap separating forms of activist art from an aesthetics of protest is part of a broader paradigm shift constituted by the multiplying crises within contemporary capitalism and democratic governance across the globe.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8951df38ce0ffadd64dbc0dad5adfd89" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":95090760,"asset_id":91948055,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/95090760/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="91948055"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="91948055"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 91948055; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=91948055]").text(description); $(".js-view-count[data-work-id=91948055]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 91948055; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='91948055']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="90553216"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/90553216/A_short_and_incomplete_history_of_bad_curating_as_collective_resistance"><img alt="Research paper thumbnail of A short and incomplete history of “bad” curating as collective resistance" class="work-thumbnail" src="https://attachments.academia-assets.com/94085063/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/90553216/A_short_and_incomplete_history_of_bad_curating_as_collective_resistance">A short and incomplete history of “bad” curating as collective resistance</a></div><div class="wp-workCard_item"><span>Art Agenda Reports: e-flux</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Exploring the social, political and curatorial aspects of the Documenta 15 controversy (2022), th...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Exploring the social, political and curatorial aspects of the Documenta 15 controversy (2022), this essay first published by e-flux for Art Agenda Reports argues that the Indonesian collective ruangrupa critically intervened in the acclaimed event in Kassel, Germany, occupying and opening-up its structure, before the mainstream art world sought to shut it down as an act of reprisal and warning to future attempts at curating "badly" as resistance.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4a341bfb4aac6afb82b7199682efd8da" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":94085063,"asset_id":90553216,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/94085063/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="90553216"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="90553216"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 90553216; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=90553216]").text(description); $(".js-view-count[data-work-id=90553216]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 90553216; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='90553216']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="81121305"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/81121305/Resist_Again_2021_"><img alt="Research paper thumbnail of Resist Again (2021)" class="work-thumbnail" src="https://attachments.academia-assets.com/87275895/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/81121305/Resist_Again_2021_">Resist Again (2021)</a></div><div class="wp-workCard_item"><span>Resistance Anew: Artworks, Culture & Democracy </span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">It appears to be particular and perhaps even unique to the field of the visual arts, especially o...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">It appears to be particular and perhaps even unique to the field of the visual arts, especially over the past century, but especially the past 50 years, that those who labor within it feel an obligation to oppose, reject, boycott, and sometimes engage in combat against the same establishment that they in turn depend upon as producers. Try to imagine any other cohort of highly educated professionals doing the same thing. Given this is a primary<br />condition of artistic work, it has inevitably generated a resistant response from art’s institutional sector. This paper offers a brief history of this<br />love/hate (or perhaps hate/love?) relationship between art and state/private/religious management, along with a few thoughts about how this complex affair continues to inform and to shape contemporary art in the 21st century. Published to accompany a major exhibition held at the Musée cantonal des Beaux-Arts de Lausanne during spring 2022 (18 February - 15 May),</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c1fab62fed32edfde353cbb696793287" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":87275895,"asset_id":81121305,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/87275895/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="81121305"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="81121305"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 81121305; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="69178981"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/69178981/Speaking_Clown_to_Power_Can_We_Resist_the_Historic_Compromise_of_Neoliberal_Art"><img alt="Research paper thumbnail of Speaking Clown to Power: Can We Resist the Historic Compromise of Neoliberal Art" class="work-thumbnail" src="https://attachments.academia-assets.com/79373295/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/69178981/Speaking_Clown_to_Power_Can_We_Resist_the_Historic_Compromise_of_Neoliberal_Art">Speaking Clown to Power: Can We Resist the Historic Compromise of Neoliberal Art</a></div><div class="wp-workCard_item"><span>Imagining Resistance : Visual Culture and Activism in Canada</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Clowns always speak of the same thing, they speak of hunger; hunger for food, hunger for sex, but...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Clowns always speak of the same thing, they speak of hunger; hunger for food, hunger for sex, but also hunger for dignity, hunger for identity, hunger for power. In fact, they introduce questions about who commands, who protests, and who laughs, all necessary dispositions in a precarious age of neoliberal, enterprise culture. This 2011 essay is a chapter in the book Imagining resistance: Visual culture and activism in Canada, edited by Kirsty Robertson and J. Keri Cronin (Wilfrid Laurier Univ. Press, 2011). pp 38-59.<br />ISBN 9781554583119</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a79b65fe9d426405ca2943f2e6c756b9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":79373295,"asset_id":69178981,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/79373295/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="69178981"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="69178981"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 69178981; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="62041413"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/62041413/NFT_Fever_updated_version_"><img alt="Research paper thumbnail of NFT Fever: (updated version)" class="work-thumbnail" src="https://attachments.academia-assets.com/74910591/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/62041413/NFT_Fever_updated_version_">NFT Fever: (updated version)</a></div><div class="wp-workCard_item"><span>Electra Magazine</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This op-ed style essay examines the wildly exaggerated claims made for Non-Fungible Tokens or NFT...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This op-ed style essay examines the wildly exaggerated claims made for Non-Fungible Tokens or NFT artworks. Above all, it questions the NFT's  peculiar reversal of digital media's inherent interchangeability by turning back to the centuries-old legacy of individual authorship and visionary private property. "NFT Fever: Is it Time for a Great Refusal 2.0?," was originally written for and published by the Portuguese cultural journal, Electra Magazine, and is hereby updated with some important corrections to the technical details. <a href="https://www.fundacaoedp.pt/en/content/electra-magazine" rel="nofollow">https://www.fundacaoedp.pt/en/content/electra-magazine</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b533453fd7dcedbfbbed2cf562ef9063" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":74910591,"asset_id":62041413,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/74910591/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="62041413"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="62041413"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 62041413; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="50794218"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/50794218/Art_Worker_Art_Worker_What_Have_You_Done_Updated_November_11_2021_"><img alt="Research paper thumbnail of Art Worker Art Worker What Have You Done? (Updated November 11 2021)" class="work-thumbnail" src="https://attachments.academia-assets.com/74543130/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/50794218/Art_Worker_Art_Worker_What_Have_You_Done_Updated_November_11_2021_">Art Worker Art Worker What Have You Done? (Updated November 11 2021)</a></div><div class="wp-workCard_item"><span>In fiamme: La performance nello spazio delle lotte [1967-1979]</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The concept of Art Worker first appeared in the US context in the 1930s, returning in the late 19...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The concept of Art Worker first appeared in the US context in the 1930s, returning in the late 1960s particularly amongst members of Art Workers' Coalition in New York City and similar, vanguard cultural groups. But what do we make of the curious transformation of this idea from the mid-20th century dissident outlook of Conceptual art where it served to a de-privilege the legacy of artist exceptionalism during a period of widespread social re-appraisal especially by disaffected young people, to the period of post-1968, the pessimism of the 1970s, followed by the rise of the neoliberal notion of creative worker where everyone was now supposed to work like an artist by "thinking outside the box"? This paper explores this question by focusing on the often agonizing self-critique of a small group of Marxian inspired artists in New York City who were determined to transform their practice into a form of cultural activism supportive of broader liberation struggles on the very cusp of the "free market" economic and ideological conversion of the 1980s.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c48a7958cc23672a7395898dbd20279c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":74543130,"asset_id":50794218,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/74543130/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="50794218"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="50794218"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 50794218; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=50794218]").text(description); $(".js-view-count[data-work-id=50794218]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 50794218; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='50794218']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c48a7958cc23672a7395898dbd20279c" } } $('.js-work-strip[data-work-id=50794218]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":50794218,"title":"Art Worker Art Worker What Have You Done? 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So Why Is Serious Socially Engaged Art Also Thriving *" class="work-thumbnail" src="https://attachments.academia-assets.com/65587935/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/45036461/Memes_Are_Dominating_Attention_Spans_and_Clicks_Like_Never_Before_So_Why_Is_Serious_Socially_Engaged_Art_Also_Thriving_">Memes Are Dominating Attention Spans and Clicks Like Never Before. So Why Is Serious Socially Engaged Art Also Thriving *</a></div><div class="wp-workCard_item"><span>More Art in the Public Eye</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">We are witnessing today the full-on return of socially engaged cultural activism, not only amongs...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">We are witnessing today the full-on return of socially engaged cultural activism, not only amongst embedded movement artists and community-based cultural workers, but by professionally trained, MFA-bearing artists who refuse the conventional opposition separating art from politics, from current events, and from life in general. Still, what makes this return of a highly politicized cultural consciousness so very robust and far-reaching today?  [* Originally entitled, "Can a Transformative Avant-Garde Art Survive in a World of Lolcats, Doomsday Preppers, and Xenophobic Frog Memes? Do We Have a Choice?" ]</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9b6756422d6f88abb3669fd37dcc8137" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65587935,"asset_id":45036461,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65587935/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="45036461"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="45036461"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 45036461; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=45036461]").text(description); $(".js-view-count[data-work-id=45036461]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 45036461; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='45036461']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9b6756422d6f88abb3669fd37dcc8137" } } $('.js-work-strip[data-work-id=45036461]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":45036461,"title":"Memes Are Dominating Attention Spans and Clicks Like Never Before. 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We live in a dancing matrix of viruses; they dart, rather like bees, from organism to organism, from plant to insect to mammal to me and back again, and into the sea, tugging along pieces of this genome, strings of genes from that, transplanting grafts of DNA, passing around heredity as though at a great party."</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="888e2d017ef29af40aa0f5dec468d5bc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63624995,"asset_id":43339298,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63624995/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43339298"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43339298"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43339298; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="42704268"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42704268/Coming_home_to_roost_How_a_new_wave_of_institutional_critique_confronts_our_Bare_Art_World_"><img alt="Research paper thumbnail of Coming home to roost: How a new wave of institutional critique confronts our “Bare Art World”" class="work-thumbnail" src="https://attachments.academia-assets.com/62916813/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42704268/Coming_home_to_roost_How_a_new_wave_of_institutional_critique_confronts_our_Bare_Art_World_">Coming home to roost: How a new wave of institutional critique confronts our “Bare Art World”</a></div><div class="wp-workCard_item"><span>Free LIbre: Technologies, Arts and the Commons</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A series of remarkable gains by organized museum workers in the United States is now in danger of...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A series of remarkable gains by organized museum workers in the United States is now in danger of being erased. I am writing this on April 11 2020, as all "non-essential" businesses, including museums, have been physically shuttered in response to the Covid-19 pandemic. The result over the past few weeks is that hundreds of museum workers, many who are newly unionized, have being furloughed, or layed-off, even as the depth and longevity of the crisis remains uncertain. This short paper was generated during a far more hopeful moment as museum staff from the New Museum and Guggenheim to the LA Museum of Contemporary were unionizing in an effort to secure and protect their typically precarious jobs from the uncertainties of the marketplace. It was also a time, only weeks ago now, that sales of art soared into the billions. And what I argued then is that the cultural workers' drive to self-organize can in part be traced back  to the practice of institutional critique, an artistic methodology studied by this generation of museum staff as they pursued their degrees in art or art history (BFA, MFA, MA or PhD).  First presented at the University of Nicosia Research Foundation in Cyprus, this text was written for the "UnConference" organized by Evanthia Tselika and her associates in the summer of 2019. More about that event and other presentations can be found here:  <a href="http://www.unrf.ac.cy/files/unconference-proceedings-phygital.pdf" rel="nofollow">http://www.unrf.ac.cy/files/unconference-proceedings-phygital.pdf</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="733acc77f6bfb5a233144e8658d75e56" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62916813,"asset_id":42704268,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62916813/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42704268"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42704268"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42704268; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41467439"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41467439/Not_Cool_Enough_to_Catalog_Social_Movement_Culture_and_its_Phantom_Archives"><img alt="Research paper thumbnail of Not Cool Enough to Catalog: Social Movement Culture and its Phantom Archives" class="work-thumbnail" src="https://attachments.academia-assets.com/61641573/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41467439/Not_Cool_Enough_to_Catalog_Social_Movement_Culture_and_its_Phantom_Archives">Not Cool Enough to Catalog: Social Movement Culture and its Phantom Archives</a></div><div class="wp-workCard_item"><span>Art in the Pursuit of Social Change: 1967-1987</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The title of this essay, which was written for a book about the Peace Press published by The Cent...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The title of this essay, which was written for a book about the Peace Press published by The Center for the Study of Political Graphics in Los Angeles, comes from an awkward discovery by Josh MacPhee and the late Dara Greenwald in 2008. While researching materials for an exhibition they were curating about social movement art for Exit Art (NYC not-for-profit gallery now closed) they came across a post-it note "not cool enough to catalog" attached to posters in the PAD/D Archive at the Museum of Modern Art. Using this anecdote as a jumping-off point this essay attempts to invert the usual way such movement culture is discussed by suggesting that well-known artists such as Andy Warhol or Richard Serra drew upon an ethereal body of fugitive posters, radical Left imagery and political graphic visual tropes that constitute a "phantom archive" informing both "professional" and informal art works when it comes to making a "statement."  [From: Kaplan, Ilee, et al. Peace Press Graphics 1967-1987: Art in the Pursuit of Social Change. University Art Museum, California State University, 2011. ]</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1eaa564d73f848515f5a6d5a79f73da1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61641573,"asset_id":41467439,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61641573/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41467439"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41467439"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41467439; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41125354"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41125354/ART_DEBT_OVERSUPPLY_PANIC_On_the_contradictions_of_a_21st_Century_Art_Education"><img alt="Research paper thumbnail of ART, DEBT, OVERSUPPLY, PANIC!: On the contradictions of a 21st Century Art Education" class="work-thumbnail" src="https://attachments.academia-assets.com/61377999/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41125354/ART_DEBT_OVERSUPPLY_PANIC_On_the_contradictions_of_a_21st_Century_Art_Education">ART, DEBT, OVERSUPPLY, PANIC!: On the contradictions of a 21st Century Art Education</a></div><div class="wp-workCard_item"><span>Delirium and Resistance: Activist Art and the Crisis of Capitalism</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Challenging ideas about class, debt, and labor as set forth by such arts and culture writers as D...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Challenging ideas about class, debt, and labor as set forth by such arts and culture writers as Dave Beech, Ben Davis, Coco Fusco, Kerstin Stakemeier, Marina Vishmidt and Hans Abbing among others, this essay proposes that "there are exactly as many artists as the system requires for reproducing itself." 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="40287243"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/40287243/Dewey_Beuys_Cage_and_the_Vulnerable_yet_Utterly_Unremarkable_Heresy_of_Socially_Engaged_Art_Education"><img alt="Research paper thumbnail of Dewey, Beuys, Cage, and the Vulnerable yet Utterly Unremarkable Heresy of Socially Engaged Art Education" class="work-thumbnail" src="https://attachments.academia-assets.com/60525078/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40287243/Dewey_Beuys_Cage_and_the_Vulnerable_yet_Utterly_Unremarkable_Heresy_of_Socially_Engaged_Art_Education">Dewey, Beuys, Cage, and the Vulnerable yet Utterly Unremarkable Heresy of Socially Engaged Art Education</a></div><div class="wp-workCard_item"><span>Art As Social Action: An Introduction To The Principles and Practice of Teaching Social Practice Art</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the concluding essay written for the book Art As Social Action: An Introduction To The Pr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the concluding essay written for the book Art As Social Action: An Introduction To The Principles and Practice of Teaching Social Practice Art with Chloë Bass and Social Practice Queens (Skyhorse Press 2018) and it is both a personal and theoretical reflection on the peculiar pedagogical qualities and quandaries of teaching socially engaged art in an academic, college level context.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="289c0d5e441af58deade1209ad36c1e2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60525078,"asset_id":40287243,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60525078/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40287243"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40287243"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40287243; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39634965"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39634965/Art_After_Gentrification"><img alt="Research paper thumbnail of Art After Gentrification" class="work-thumbnail" src="https://attachments.academia-assets.com/59796373/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39634965/Art_After_Gentrification">Art After Gentrification</a></div><div class="wp-workCard_item"><span>Delirium and Resistance: Activist Art and the Crisis of Capitalism</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The practice of repurposing resources that already exist—versus innovating or engineering new...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The practice of repurposing  resources  that  already  exist—versus innovating or engineering new ones—is an area of significant overlap between contemporary art and twenty-first-century capitalism. Low-risk and relatively low-cost, the process of creative reuse generates fantastic value-adding possibilities. Or so it seems. For even as real estate speculators and city planners discover the value of high culture for upgrading urban infrastructures, so too have a growing number of contemporary artists learned to mimic and perhaps intentionally mistranslate neoliberal enterprise culture's urban strategies into a repertoire of exonomic tools and “art+realty” hybrids that game the system against itself. Whether post-Fordist capitalism now resembles art or vice versa, virtually everything we thought we knew about “serious” culture has been peeled away with astonishing force, leaving  behind  a  raw,  and  in  some  ways  vulnerable thing: a bare art world, fully congruent with the political and economic emergency that marks our contemporaneous present.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6ac22ad0619492b094b6af284d8ea10a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59796373,"asset_id":39634965,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59796373/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39634965"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39634965"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39634965; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38467907"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38467907/Optimism_of_the_Will_2018_FIELD_Reports_on_the_Global_Resistance_to_Neo_Reactionary_Nationalism"><img alt="Research paper thumbnail of Optimism of the Will: 2018 FIELD Reports on the Global Resistance to Neo-Reactionary Nationalism" class="work-thumbnail" src="https://attachments.academia-assets.com/58533077/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38467907/Optimism_of_the_Will_2018_FIELD_Reports_on_the_Global_Resistance_to_Neo_Reactionary_Nationalism">Optimism of the Will: 2018 FIELD Reports on the Global Resistance to Neo-Reactionary Nationalism</a></div><div class="wp-workCard_item"><span>FIELD: A Journal of Socially Engaged Art Criticism issue #s 12/13</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In January 2018, at the request of Grant Kester editor and founder of FIELD: A Journal of Sociall...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In January 2018, at the request of Grant Kester editor and founder of FIELD: A Journal of Socially-Engaged Art Criticism, I asked several dozen associates around the world if they would submit a report about current, local conditions of cultural innovation and resistance, especially in opposition to the rise of extreme Right wing politics since the 2016  Brexit and US elections. One year later these reflections have been collected in a  double issue of FIELD numbers 12 and 13 and available online at: <a href="http://field-journal.com/issue-12?cat=30" rel="nofollow">http://field-journal.com/issue-12?cat=30</a> . This essay serves as the introduction to this special issue. I wish to thank Grant Kester for encouraging me to organize this project, along with his remarkable team of UCSD based editors –Erika Barbosa, Noni Brynjolson, Paloma Checa-Gismero, Jonah Gray, Alex Kershaw and Jordan Rosez- as well as the outstanding artists, intellectuals and activists who contributed their insights in the form of thirty-six international reports including:<br /><br />Ireland (Dublin)<br />Emma Mahony <br /><br />UK (Plyymouth)<br />Kim Charnley<br /><br />Poland (Warsaw)<br />Kuba Szreder <br /><br />Serbia (Belgrade)<br />rena raedle <br /><br />Australia (Melbourne)<br />Nikos Papastergiadis  <br /><br />Germany (U. Zeppelin, Friedrichshafen)<br />Karen van den Berg <br /><br />France (Paris)<br />Vanessa Theodoropoulou <br /><br />S. Africa (Cape Town)<br />Nkule Mabaso <br /><br />Mexico (Puebla)<br />Alberto López Cuenca  <br /><br />Colombia (Bogotá)<br />Jimena Andrade, Victoria Argoty, Daniel Castellanos, <br />Camila Cifuentes, Miguel Estupiñán, María Gamarra, <br />Guerthy Gutiérrez, Susana Lyons, Silvia Valderrama, <br />Esthefanny Yague, Nicolás Vargas.  <br /><br />US Great Lakes Region, <br />Dan S Wang<br /><br />Brazil (São Paulo )<br />Andre Mesquita <br /><br />Sweden (Gothenburg)<br /> Fredrik Svensk<br /><br />Russia (St. Petersburg)<br />Dmitry Vilensky & Chto Delat? <br /><br />Puerto Rico/S.Bronx, <br />Libertad Guerra & Monxo Lopez <br /><br />China (Hong Kong)<br />Bo Zheng <br /><br />West Coast (Bay Area), <br />Jeffrey Skoller  <br /><br />Palestine/Gaza, <br />Amin Husain & Nitasha Dhillon <br /><br />S. Korea, <br />Heng-Gil Han <br /><br />Italy (Venice)<br />Marco Baravalle<br /><br />Philadelphia<br />Nato Thompson <br /><br />Indigenous Canada<br />Lindsay Nixon<br /><br />India <br />Mriganka Madhukaillya <br /><br />Bangladesh<br />Katatare Prajapati Collective<br /><br />Networked World<br />Chloë Bass <br /><br />NATO Alliance <br />Marc Leger <br /><br />Hungary<br />Kata Benedek & Ágnes Básthy<br /><br />European Academic Precariousness<br />Carlos Garrido Castellano</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f7992faafe336dabcb3465532c965a7d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58533077,"asset_id":38467907,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58533077/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38467907"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38467907"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38467907; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38066412"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38066412/Confronting_Fascist_Banalities_On_the_Centenary_10_of_the_Futurist_Manifesto"><img alt="Research paper thumbnail of Confronting Fascist Banalities On the Centenary +10 of the Futurist Manifesto" class="work-thumbnail" src="https://attachments.academia-assets.com/65926501/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38066412/Confronting_Fascist_Banalities_On_the_Centenary_10_of_the_Futurist_Manifesto">Confronting Fascist Banalities On the Centenary +10 of the Futurist Manifesto</a></div><div class="wp-workCard_item"><span>Manifesto: A Moderate Proposal exhibition catalog by Ciara Ennis and Jennifer Vanderpool.</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">For well over one hundred years, at regular punctuated intervals, and perhaps even before you fin...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">For well over one hundred years, at regular punctuated intervals, and perhaps even before you finish this sentence, someone somewhere in the world is preparing to detonate an artistic manifesto. The objective is clear enough: carve out a yawning cavity within the otherwise predictable topography of art historical tropes and social norms. Meanwhile, at this strange and uncanny present moment, President Trump is at best a third-rate Marinetti whose digital declarations ping-pong across a planet tethered together by networks of immeasurable fiber optic cable, concrete arteries of automobile-choked highway, containerized shipping channels, privatized public spaces, real estate laws, reality TV politics, and a pharmaceutically infantilized global population.<br /><br />An essay commissioned for the exhibition, "A Moderate Proposal," and published by the Pitzer College Art Galleries, 2018, curated by Ciara Ennis and Jennifer Vanderpool: <a href="https://www.pitzer.edu/manifesto/" rel="nofollow">https://www.pitzer.edu/manifesto/</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5d3f0b9e8d4d6ddb3123df5143ce6d3e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65926501,"asset_id":38066412,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65926501/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38066412"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38066412"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38066412; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37973962"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37973962/Activating_the_Archive_From_Below_at_a_Moment_of_Cultural_and_Political_Crisis"><img alt="Research paper thumbnail of Activating the Archive From Below at a Moment of Cultural and Political Crisis" class="work-thumbnail" src="https://attachments.academia-assets.com/57990743/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37973962/Activating_the_Archive_From_Below_at_a_Moment_of_Cultural_and_Political_Crisis">Activating the Archive From Below at a Moment of Cultural and Political Crisis</a></div><div class="wp-workCard_item"><span>This is the penultimate chapter of Nick Thurston and Maik Fieltz's book Post-Digital Cultures of the Far Right: Online Actions and Offline Consequences in Europe and the US</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Along with the social antagonism that fully networked culture fosters with its panoptic vulnerabi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Along with the social antagonism that fully networked culture fosters with its panoptic vulnerability to surveillance and self-obsessive tendencies (such as sharing one’s privacy with thousands of others as well as corporate marketing specialists), there are also no barricades or prohibitions that prevent assemblies of authoritarian and white supremacist bodies from similarly using networked culture to assemble in an effort to eclipse (or to affirm) their own dark matter obscurity. And this is precisely what we have seen over the past few years across the globe, at an accelerating pace.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ab4e403597cdeb5f79f139ee1e30eddd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57990743,"asset_id":37973962,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57990743/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37973962"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37973962"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37973962; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37218697"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37218697/Do_We_Need_a_Turing_Test_for_Activist_Art_in_a_Bare_Art_World"><img alt="Research paper thumbnail of Do We Need a Turing Test for Activist Art in a Bare Art World?" class="work-thumbnail" src="https://attachments.academia-assets.com/57169620/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37218697/Do_We_Need_a_Turing_Test_for_Activist_Art_in_a_Bare_Art_World">Do We Need a Turing Test for Activist Art in a Bare Art World?</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">An inner link has always connected the artistic avant-garde with acts of insurgency carried out b...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">An inner link has always connected the artistic avant-garde with acts of insurgency carried out by socially disenfranchised populations insofar as both embrace the possibility of an emancipated future that is radically at odds with the present (picture Gustave Courbet<br />helping to topple the Vendome Column in<br />1871), except something about such historical repetition and reenactment at this time  –a moment best described as an uncanny present: a present unfamiliar in its very presentness (Rebecca Bryant)– cries out for something like verification. The essay (published in ASAP Journal 3.2 2018) asks is such a thing as proof of authenticity even possible?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5ec20e34474b8f2c81dea1df61751ee4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57169620,"asset_id":37218697,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57169620/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37218697"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37218697"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37218697; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="35978470"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35978470/The_Collective_Bad_2017_"><img alt="Research paper thumbnail of The Collective Bad (2017)" class="work-thumbnail" src="https://attachments.academia-assets.com/55862887/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35978470/The_Collective_Bad_2017_">The Collective Bad (2017)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Bad deeds are actions that occur seemingly outside what Deleuze called the “society of control.” ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Bad deeds are actions that occur seemingly outside what Deleuze called the “society of control.” But what is the status of such acts in the modern capitalist era when artists who do seek freedom from racism, military conscription, environmental injustice, and oppressive laws encounter censorship, criminal indictment, incarceration, or worse? If the truest artistic act in an unfree society amounts to committing some type of crime then are bad deeds beautiful?  (The Collective Bad is published in The Collective Good, edited by Michael Birchall and Geir Haraldseth and published in 2017 by Rogaland Kunstsenter, Stavanger. My essay appears on pages 34 to 42.)</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a0acd9d9cab7703a8b7a460e0b90dfc0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55862887,"asset_id":35978470,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55862887/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35978470"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35978470"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35978470; 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organization known as the Industrial Workers of the World, or Wobblies. ... 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</script> <div class="js-work-strip profile--work_container" data-work-id="91948055"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/91948055/INTRODUCTION_TO_THE_ART_OF_ACTIVISM_AND_THE_ACTIVISM_OF_ART"><img alt="Research paper thumbnail of INTRODUCTION TO THE ART OF ACTIVISM AND THE ACTIVISM OF ART" class="work-thumbnail" src="https://attachments.academia-assets.com/95090760/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/91948055/INTRODUCTION_TO_THE_ART_OF_ACTIVISM_AND_THE_ACTIVISM_OF_ART">INTRODUCTION TO THE ART OF ACTIVISM AND THE ACTIVISM OF ART</a></div><div class="wp-workCard_item"><span>THE ART OF ACTIVISM AND THE ACTIVISM OF ART GREGORY SHOLETTE</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">* This is the introductory chapter to THE ART OF ACTIVISM AND THE ACTIVISM OF ART (Lund Humphries...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">* This is the introductory chapter to THE ART OF ACTIVISM AND THE ACTIVISM OF ART (Lund Humphries, UK, 2022) *<br /><br />Since the global financial crash of 2008, artists have become increasingly engaged in a wide range of cultural activism targeted against capitalism, political authoritarianism, colonial legacies, gentrification, but also in opposition to their own exploitation. They have also absorbed and reflected forms of protest within their art practice itself. The Art of Activism and the Activism of Art maps, critiques, celebrates and historicises activist art, exploring its current urgency alongside the processes which have given rise to it. Gregory Sholette approaches his subject from the dual perspective of commentator (as scholar and writer) and insider (as activist artist), in order to propose that the narrowing gap separating forms of activist art from an aesthetics of protest is part of a broader paradigm shift constituted by the multiplying crises within contemporary capitalism and democratic governance across the globe.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8951df38ce0ffadd64dbc0dad5adfd89" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":95090760,"asset_id":91948055,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/95090760/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="91948055"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="91948055"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 91948055; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="90553216"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/90553216/A_short_and_incomplete_history_of_bad_curating_as_collective_resistance"><img alt="Research paper thumbnail of A short and incomplete history of “bad” curating as collective resistance" class="work-thumbnail" src="https://attachments.academia-assets.com/94085063/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/90553216/A_short_and_incomplete_history_of_bad_curating_as_collective_resistance">A short and incomplete history of “bad” curating as collective resistance</a></div><div class="wp-workCard_item"><span>Art Agenda Reports: e-flux</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Exploring the social, political and curatorial aspects of the Documenta 15 controversy (2022), th...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Exploring the social, political and curatorial aspects of the Documenta 15 controversy (2022), this essay first published by e-flux for Art Agenda Reports argues that the Indonesian collective ruangrupa critically intervened in the acclaimed event in Kassel, Germany, occupying and opening-up its structure, before the mainstream art world sought to shut it down as an act of reprisal and warning to future attempts at curating "badly" as resistance.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4a341bfb4aac6afb82b7199682efd8da" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":94085063,"asset_id":90553216,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/94085063/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="90553216"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="90553216"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 90553216; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="81121305"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/81121305/Resist_Again_2021_"><img alt="Research paper thumbnail of Resist Again (2021)" class="work-thumbnail" src="https://attachments.academia-assets.com/87275895/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/81121305/Resist_Again_2021_">Resist Again (2021)</a></div><div class="wp-workCard_item"><span>Resistance Anew: Artworks, Culture & Democracy </span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">It appears to be particular and perhaps even unique to the field of the visual arts, especially o...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">It appears to be particular and perhaps even unique to the field of the visual arts, especially over the past century, but especially the past 50 years, that those who labor within it feel an obligation to oppose, reject, boycott, and sometimes engage in combat against the same establishment that they in turn depend upon as producers. Try to imagine any other cohort of highly educated professionals doing the same thing. Given this is a primary<br />condition of artistic work, it has inevitably generated a resistant response from art’s institutional sector. This paper offers a brief history of this<br />love/hate (or perhaps hate/love?) relationship between art and state/private/religious management, along with a few thoughts about how this complex affair continues to inform and to shape contemporary art in the 21st century. Published to accompany a major exhibition held at the Musée cantonal des Beaux-Arts de Lausanne during spring 2022 (18 February - 15 May),</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c1fab62fed32edfde353cbb696793287" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":87275895,"asset_id":81121305,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/87275895/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="81121305"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="81121305"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 81121305; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="69178981"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/69178981/Speaking_Clown_to_Power_Can_We_Resist_the_Historic_Compromise_of_Neoliberal_Art"><img alt="Research paper thumbnail of Speaking Clown to Power: Can We Resist the Historic Compromise of Neoliberal Art" class="work-thumbnail" src="https://attachments.academia-assets.com/79373295/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/69178981/Speaking_Clown_to_Power_Can_We_Resist_the_Historic_Compromise_of_Neoliberal_Art">Speaking Clown to Power: Can We Resist the Historic Compromise of Neoliberal Art</a></div><div class="wp-workCard_item"><span>Imagining Resistance : Visual Culture and Activism in Canada</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Clowns always speak of the same thing, they speak of hunger; hunger for food, hunger for sex, but...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Clowns always speak of the same thing, they speak of hunger; hunger for food, hunger for sex, but also hunger for dignity, hunger for identity, hunger for power. In fact, they introduce questions about who commands, who protests, and who laughs, all necessary dispositions in a precarious age of neoliberal, enterprise culture. This 2011 essay is a chapter in the book Imagining resistance: Visual culture and activism in Canada, edited by Kirsty Robertson and J. Keri Cronin (Wilfrid Laurier Univ. Press, 2011). pp 38-59.<br />ISBN 9781554583119</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a79b65fe9d426405ca2943f2e6c756b9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":79373295,"asset_id":69178981,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/79373295/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="69178981"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="69178981"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 69178981; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="62041413"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/62041413/NFT_Fever_updated_version_"><img alt="Research paper thumbnail of NFT Fever: (updated version)" class="work-thumbnail" src="https://attachments.academia-assets.com/74910591/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/62041413/NFT_Fever_updated_version_">NFT Fever: (updated version)</a></div><div class="wp-workCard_item"><span>Electra Magazine</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This op-ed style essay examines the wildly exaggerated claims made for Non-Fungible Tokens or NFT...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This op-ed style essay examines the wildly exaggerated claims made for Non-Fungible Tokens or NFT artworks. Above all, it questions the NFT's  peculiar reversal of digital media's inherent interchangeability by turning back to the centuries-old legacy of individual authorship and visionary private property. "NFT Fever: Is it Time for a Great Refusal 2.0?," was originally written for and published by the Portuguese cultural journal, Electra Magazine, and is hereby updated with some important corrections to the technical details. <a href="https://www.fundacaoedp.pt/en/content/electra-magazine" rel="nofollow">https://www.fundacaoedp.pt/en/content/electra-magazine</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b533453fd7dcedbfbbed2cf562ef9063" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":74910591,"asset_id":62041413,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/74910591/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="62041413"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="62041413"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 62041413; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="50794218"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/50794218/Art_Worker_Art_Worker_What_Have_You_Done_Updated_November_11_2021_"><img alt="Research paper thumbnail of Art Worker Art Worker What Have You Done? (Updated November 11 2021)" class="work-thumbnail" src="https://attachments.academia-assets.com/74543130/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/50794218/Art_Worker_Art_Worker_What_Have_You_Done_Updated_November_11_2021_">Art Worker Art Worker What Have You Done? (Updated November 11 2021)</a></div><div class="wp-workCard_item"><span>In fiamme: La performance nello spazio delle lotte [1967-1979]</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The concept of Art Worker first appeared in the US context in the 1930s, returning in the late 19...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The concept of Art Worker first appeared in the US context in the 1930s, returning in the late 1960s particularly amongst members of Art Workers' Coalition in New York City and similar, vanguard cultural groups. But what do we make of the curious transformation of this idea from the mid-20th century dissident outlook of Conceptual art where it served to a de-privilege the legacy of artist exceptionalism during a period of widespread social re-appraisal especially by disaffected young people, to the period of post-1968, the pessimism of the 1970s, followed by the rise of the neoliberal notion of creative worker where everyone was now supposed to work like an artist by "thinking outside the box"? This paper explores this question by focusing on the often agonizing self-critique of a small group of Marxian inspired artists in New York City who were determined to transform their practice into a form of cultural activism supportive of broader liberation struggles on the very cusp of the "free market" economic and ideological conversion of the 1980s.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c48a7958cc23672a7395898dbd20279c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":74543130,"asset_id":50794218,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/74543130/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="50794218"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="50794218"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 50794218; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=50794218]").text(description); $(".js-view-count[data-work-id=50794218]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 50794218; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='50794218']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c48a7958cc23672a7395898dbd20279c" } } $('.js-work-strip[data-work-id=50794218]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":50794218,"title":"Art Worker Art Worker What Have You Done? 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So Why Is Serious Socially Engaged Art Also Thriving *" class="work-thumbnail" src="https://attachments.academia-assets.com/65587935/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/45036461/Memes_Are_Dominating_Attention_Spans_and_Clicks_Like_Never_Before_So_Why_Is_Serious_Socially_Engaged_Art_Also_Thriving_">Memes Are Dominating Attention Spans and Clicks Like Never Before. So Why Is Serious Socially Engaged Art Also Thriving *</a></div><div class="wp-workCard_item"><span>More Art in the Public Eye</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">We are witnessing today the full-on return of socially engaged cultural activism, not only amongs...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">We are witnessing today the full-on return of socially engaged cultural activism, not only amongst embedded movement artists and community-based cultural workers, but by professionally trained, MFA-bearing artists who refuse the conventional opposition separating art from politics, from current events, and from life in general. Still, what makes this return of a highly politicized cultural consciousness so very robust and far-reaching today?  [* Originally entitled, "Can a Transformative Avant-Garde Art Survive in a World of Lolcats, Doomsday Preppers, and Xenophobic Frog Memes? Do We Have a Choice?" ]</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9b6756422d6f88abb3669fd37dcc8137" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65587935,"asset_id":45036461,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65587935/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="45036461"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="45036461"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 45036461; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=45036461]").text(description); $(".js-view-count[data-work-id=45036461]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 45036461; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='45036461']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9b6756422d6f88abb3669fd37dcc8137" } } $('.js-work-strip[data-work-id=45036461]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":45036461,"title":"Memes Are Dominating Attention Spans and Clicks Like Never Before. 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We live in a dancing matrix of viruses; they dart, rather like bees, from organism to organism, from plant to insect to mammal to me and back again, and into the sea, tugging along pieces of this genome, strings of genes from that, transplanting grafts of DNA, passing around heredity as though at a great party."</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="888e2d017ef29af40aa0f5dec468d5bc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63624995,"asset_id":43339298,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63624995/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43339298"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43339298"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43339298; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="42704268"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42704268/Coming_home_to_roost_How_a_new_wave_of_institutional_critique_confronts_our_Bare_Art_World_"><img alt="Research paper thumbnail of Coming home to roost: How a new wave of institutional critique confronts our “Bare Art World”" class="work-thumbnail" src="https://attachments.academia-assets.com/62916813/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42704268/Coming_home_to_roost_How_a_new_wave_of_institutional_critique_confronts_our_Bare_Art_World_">Coming home to roost: How a new wave of institutional critique confronts our “Bare Art World”</a></div><div class="wp-workCard_item"><span>Free LIbre: Technologies, Arts and the Commons</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A series of remarkable gains by organized museum workers in the United States is now in danger of...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A series of remarkable gains by organized museum workers in the United States is now in danger of being erased. I am writing this on April 11 2020, as all "non-essential" businesses, including museums, have been physically shuttered in response to the Covid-19 pandemic. The result over the past few weeks is that hundreds of museum workers, many who are newly unionized, have being furloughed, or layed-off, even as the depth and longevity of the crisis remains uncertain. This short paper was generated during a far more hopeful moment as museum staff from the New Museum and Guggenheim to the LA Museum of Contemporary were unionizing in an effort to secure and protect their typically precarious jobs from the uncertainties of the marketplace. It was also a time, only weeks ago now, that sales of art soared into the billions. And what I argued then is that the cultural workers' drive to self-organize can in part be traced back  to the practice of institutional critique, an artistic methodology studied by this generation of museum staff as they pursued their degrees in art or art history (BFA, MFA, MA or PhD).  First presented at the University of Nicosia Research Foundation in Cyprus, this text was written for the "UnConference" organized by Evanthia Tselika and her associates in the summer of 2019. More about that event and other presentations can be found here:  <a href="http://www.unrf.ac.cy/files/unconference-proceedings-phygital.pdf" rel="nofollow">http://www.unrf.ac.cy/files/unconference-proceedings-phygital.pdf</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="733acc77f6bfb5a233144e8658d75e56" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62916813,"asset_id":42704268,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62916813/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42704268"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42704268"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42704268; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41467439"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41467439/Not_Cool_Enough_to_Catalog_Social_Movement_Culture_and_its_Phantom_Archives"><img alt="Research paper thumbnail of Not Cool Enough to Catalog: Social Movement Culture and its Phantom Archives" class="work-thumbnail" src="https://attachments.academia-assets.com/61641573/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41467439/Not_Cool_Enough_to_Catalog_Social_Movement_Culture_and_its_Phantom_Archives">Not Cool Enough to Catalog: Social Movement Culture and its Phantom Archives</a></div><div class="wp-workCard_item"><span>Art in the Pursuit of Social Change: 1967-1987</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The title of this essay, which was written for a book about the Peace Press published by The Cent...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The title of this essay, which was written for a book about the Peace Press published by The Center for the Study of Political Graphics in Los Angeles, comes from an awkward discovery by Josh MacPhee and the late Dara Greenwald in 2008. While researching materials for an exhibition they were curating about social movement art for Exit Art (NYC not-for-profit gallery now closed) they came across a post-it note "not cool enough to catalog" attached to posters in the PAD/D Archive at the Museum of Modern Art. Using this anecdote as a jumping-off point this essay attempts to invert the usual way such movement culture is discussed by suggesting that well-known artists such as Andy Warhol or Richard Serra drew upon an ethereal body of fugitive posters, radical Left imagery and political graphic visual tropes that constitute a "phantom archive" informing both "professional" and informal art works when it comes to making a "statement."  [From: Kaplan, Ilee, et al. Peace Press Graphics 1967-1987: Art in the Pursuit of Social Change. University Art Museum, California State University, 2011. ]</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1eaa564d73f848515f5a6d5a79f73da1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61641573,"asset_id":41467439,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61641573/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41467439"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41467439"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41467439; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41125354"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41125354/ART_DEBT_OVERSUPPLY_PANIC_On_the_contradictions_of_a_21st_Century_Art_Education"><img alt="Research paper thumbnail of ART, DEBT, OVERSUPPLY, PANIC!: On the contradictions of a 21st Century Art Education" class="work-thumbnail" src="https://attachments.academia-assets.com/61377999/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41125354/ART_DEBT_OVERSUPPLY_PANIC_On_the_contradictions_of_a_21st_Century_Art_Education">ART, DEBT, OVERSUPPLY, PANIC!: On the contradictions of a 21st Century Art Education</a></div><div class="wp-workCard_item"><span>Delirium and Resistance: Activist Art and the Crisis of Capitalism</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Challenging ideas about class, debt, and labor as set forth by such arts and culture writers as D...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Challenging ideas about class, debt, and labor as set forth by such arts and culture writers as Dave Beech, Ben Davis, Coco Fusco, Kerstin Stakemeier, Marina Vishmidt and Hans Abbing among others, this essay proposes that "there are exactly as many artists as the system requires for reproducing itself." 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="40287243"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/40287243/Dewey_Beuys_Cage_and_the_Vulnerable_yet_Utterly_Unremarkable_Heresy_of_Socially_Engaged_Art_Education"><img alt="Research paper thumbnail of Dewey, Beuys, Cage, and the Vulnerable yet Utterly Unremarkable Heresy of Socially Engaged Art Education" class="work-thumbnail" src="https://attachments.academia-assets.com/60525078/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40287243/Dewey_Beuys_Cage_and_the_Vulnerable_yet_Utterly_Unremarkable_Heresy_of_Socially_Engaged_Art_Education">Dewey, Beuys, Cage, and the Vulnerable yet Utterly Unremarkable Heresy of Socially Engaged Art Education</a></div><div class="wp-workCard_item"><span>Art As Social Action: An Introduction To The Principles and Practice of Teaching Social Practice Art</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This is the concluding essay written for the book Art As Social Action: An Introduction To The Pr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This is the concluding essay written for the book Art As Social Action: An Introduction To The Principles and Practice of Teaching Social Practice Art with Chloë Bass and Social Practice Queens (Skyhorse Press 2018) and it is both a personal and theoretical reflection on the peculiar pedagogical qualities and quandaries of teaching socially engaged art in an academic, college level context.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="289c0d5e441af58deade1209ad36c1e2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60525078,"asset_id":40287243,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60525078/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40287243"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40287243"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40287243; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39634965"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39634965/Art_After_Gentrification"><img alt="Research paper thumbnail of Art After Gentrification" class="work-thumbnail" src="https://attachments.academia-assets.com/59796373/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39634965/Art_After_Gentrification">Art After Gentrification</a></div><div class="wp-workCard_item"><span>Delirium and Resistance: Activist Art and the Crisis of Capitalism</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The practice of repurposing resources that already exist—versus innovating or engineering new...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The practice of repurposing  resources  that  already  exist—versus innovating or engineering new ones—is an area of significant overlap between contemporary art and twenty-first-century capitalism. Low-risk and relatively low-cost, the process of creative reuse generates fantastic value-adding possibilities. Or so it seems. For even as real estate speculators and city planners discover the value of high culture for upgrading urban infrastructures, so too have a growing number of contemporary artists learned to mimic and perhaps intentionally mistranslate neoliberal enterprise culture's urban strategies into a repertoire of exonomic tools and “art+realty” hybrids that game the system against itself. Whether post-Fordist capitalism now resembles art or vice versa, virtually everything we thought we knew about “serious” culture has been peeled away with astonishing force, leaving  behind  a  raw,  and  in  some  ways  vulnerable thing: a bare art world, fully congruent with the political and economic emergency that marks our contemporaneous present.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6ac22ad0619492b094b6af284d8ea10a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59796373,"asset_id":39634965,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59796373/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39634965"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39634965"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39634965; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38467907"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38467907/Optimism_of_the_Will_2018_FIELD_Reports_on_the_Global_Resistance_to_Neo_Reactionary_Nationalism"><img alt="Research paper thumbnail of Optimism of the Will: 2018 FIELD Reports on the Global Resistance to Neo-Reactionary Nationalism" class="work-thumbnail" src="https://attachments.academia-assets.com/58533077/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38467907/Optimism_of_the_Will_2018_FIELD_Reports_on_the_Global_Resistance_to_Neo_Reactionary_Nationalism">Optimism of the Will: 2018 FIELD Reports on the Global Resistance to Neo-Reactionary Nationalism</a></div><div class="wp-workCard_item"><span>FIELD: A Journal of Socially Engaged Art Criticism issue #s 12/13</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In January 2018, at the request of Grant Kester editor and founder of FIELD: A Journal of Sociall...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In January 2018, at the request of Grant Kester editor and founder of FIELD: A Journal of Socially-Engaged Art Criticism, I asked several dozen associates around the world if they would submit a report about current, local conditions of cultural innovation and resistance, especially in opposition to the rise of extreme Right wing politics since the 2016  Brexit and US elections. One year later these reflections have been collected in a  double issue of FIELD numbers 12 and 13 and available online at: <a href="http://field-journal.com/issue-12?cat=30" rel="nofollow">http://field-journal.com/issue-12?cat=30</a> . This essay serves as the introduction to this special issue. I wish to thank Grant Kester for encouraging me to organize this project, along with his remarkable team of UCSD based editors –Erika Barbosa, Noni Brynjolson, Paloma Checa-Gismero, Jonah Gray, Alex Kershaw and Jordan Rosez- as well as the outstanding artists, intellectuals and activists who contributed their insights in the form of thirty-six international reports including:<br /><br />Ireland (Dublin)<br />Emma Mahony <br /><br />UK (Plyymouth)<br />Kim Charnley<br /><br />Poland (Warsaw)<br />Kuba Szreder <br /><br />Serbia (Belgrade)<br />rena raedle <br /><br />Australia (Melbourne)<br />Nikos Papastergiadis  <br /><br />Germany (U. Zeppelin, Friedrichshafen)<br />Karen van den Berg <br /><br />France (Paris)<br />Vanessa Theodoropoulou <br /><br />S. Africa (Cape Town)<br />Nkule Mabaso <br /><br />Mexico (Puebla)<br />Alberto López Cuenca  <br /><br />Colombia (Bogotá)<br />Jimena Andrade, Victoria Argoty, Daniel Castellanos, <br />Camila Cifuentes, Miguel Estupiñán, María Gamarra, <br />Guerthy Gutiérrez, Susana Lyons, Silvia Valderrama, <br />Esthefanny Yague, Nicolás Vargas.  <br /><br />US Great Lakes Region, <br />Dan S Wang<br /><br />Brazil (São Paulo )<br />Andre Mesquita <br /><br />Sweden (Gothenburg)<br /> Fredrik Svensk<br /><br />Russia (St. Petersburg)<br />Dmitry Vilensky & Chto Delat? <br /><br />Puerto Rico/S.Bronx, <br />Libertad Guerra & Monxo Lopez <br /><br />China (Hong Kong)<br />Bo Zheng <br /><br />West Coast (Bay Area), <br />Jeffrey Skoller  <br /><br />Palestine/Gaza, <br />Amin Husain & Nitasha Dhillon <br /><br />S. Korea, <br />Heng-Gil Han <br /><br />Italy (Venice)<br />Marco Baravalle<br /><br />Philadelphia<br />Nato Thompson <br /><br />Indigenous Canada<br />Lindsay Nixon<br /><br />India <br />Mriganka Madhukaillya <br /><br />Bangladesh<br />Katatare Prajapati Collective<br /><br />Networked World<br />Chloë Bass <br /><br />NATO Alliance <br />Marc Leger <br /><br />Hungary<br />Kata Benedek & Ágnes Básthy<br /><br />European Academic Precariousness<br />Carlos Garrido Castellano</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f7992faafe336dabcb3465532c965a7d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58533077,"asset_id":38467907,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58533077/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38467907"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38467907"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38467907; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38066412"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38066412/Confronting_Fascist_Banalities_On_the_Centenary_10_of_the_Futurist_Manifesto"><img alt="Research paper thumbnail of Confronting Fascist Banalities On the Centenary +10 of the Futurist Manifesto" class="work-thumbnail" src="https://attachments.academia-assets.com/65926501/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38066412/Confronting_Fascist_Banalities_On_the_Centenary_10_of_the_Futurist_Manifesto">Confronting Fascist Banalities On the Centenary +10 of the Futurist Manifesto</a></div><div class="wp-workCard_item"><span>Manifesto: A Moderate Proposal exhibition catalog by Ciara Ennis and Jennifer Vanderpool.</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">For well over one hundred years, at regular punctuated intervals, and perhaps even before you fin...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">For well over one hundred years, at regular punctuated intervals, and perhaps even before you finish this sentence, someone somewhere in the world is preparing to detonate an artistic manifesto. The objective is clear enough: carve out a yawning cavity within the otherwise predictable topography of art historical tropes and social norms. Meanwhile, at this strange and uncanny present moment, President Trump is at best a third-rate Marinetti whose digital declarations ping-pong across a planet tethered together by networks of immeasurable fiber optic cable, concrete arteries of automobile-choked highway, containerized shipping channels, privatized public spaces, real estate laws, reality TV politics, and a pharmaceutically infantilized global population.<br /><br />An essay commissioned for the exhibition, "A Moderate Proposal," and published by the Pitzer College Art Galleries, 2018, curated by Ciara Ennis and Jennifer Vanderpool: <a href="https://www.pitzer.edu/manifesto/" rel="nofollow">https://www.pitzer.edu/manifesto/</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5d3f0b9e8d4d6ddb3123df5143ce6d3e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65926501,"asset_id":38066412,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65926501/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38066412"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38066412"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38066412; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37973962"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37973962/Activating_the_Archive_From_Below_at_a_Moment_of_Cultural_and_Political_Crisis"><img alt="Research paper thumbnail of Activating the Archive From Below at a Moment of Cultural and Political Crisis" class="work-thumbnail" src="https://attachments.academia-assets.com/57990743/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37973962/Activating_the_Archive_From_Below_at_a_Moment_of_Cultural_and_Political_Crisis">Activating the Archive From Below at a Moment of Cultural and Political Crisis</a></div><div class="wp-workCard_item"><span>This is the penultimate chapter of Nick Thurston and Maik Fieltz's book Post-Digital Cultures of the Far Right: Online Actions and Offline Consequences in Europe and the US</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Along with the social antagonism that fully networked culture fosters with its panoptic vulnerabi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Along with the social antagonism that fully networked culture fosters with its panoptic vulnerability to surveillance and self-obsessive tendencies (such as sharing one’s privacy with thousands of others as well as corporate marketing specialists), there are also no barricades or prohibitions that prevent assemblies of authoritarian and white supremacist bodies from similarly using networked culture to assemble in an effort to eclipse (or to affirm) their own dark matter obscurity. And this is precisely what we have seen over the past few years across the globe, at an accelerating pace.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ab4e403597cdeb5f79f139ee1e30eddd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57990743,"asset_id":37973962,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57990743/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37973962"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37973962"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37973962; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37218697"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37218697/Do_We_Need_a_Turing_Test_for_Activist_Art_in_a_Bare_Art_World"><img alt="Research paper thumbnail of Do We Need a Turing Test for Activist Art in a Bare Art World?" class="work-thumbnail" src="https://attachments.academia-assets.com/57169620/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37218697/Do_We_Need_a_Turing_Test_for_Activist_Art_in_a_Bare_Art_World">Do We Need a Turing Test for Activist Art in a Bare Art World?</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">An inner link has always connected the artistic avant-garde with acts of insurgency carried out b...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">An inner link has always connected the artistic avant-garde with acts of insurgency carried out by socially disenfranchised populations insofar as both embrace the possibility of an emancipated future that is radically at odds with the present (picture Gustave Courbet<br />helping to topple the Vendome Column in<br />1871), except something about such historical repetition and reenactment at this time  –a moment best described as an uncanny present: a present unfamiliar in its very presentness (Rebecca Bryant)– cries out for something like verification. The essay (published in ASAP Journal 3.2 2018) asks is such a thing as proof of authenticity even possible?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5ec20e34474b8f2c81dea1df61751ee4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57169620,"asset_id":37218697,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57169620/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37218697"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37218697"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37218697; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="35978470"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35978470/The_Collective_Bad_2017_"><img alt="Research paper thumbnail of The Collective Bad (2017)" class="work-thumbnail" src="https://attachments.academia-assets.com/55862887/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35978470/The_Collective_Bad_2017_">The Collective Bad (2017)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Bad deeds are actions that occur seemingly outside what Deleuze called the “society of control.” ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Bad deeds are actions that occur seemingly outside what Deleuze called the “society of control.” But what is the status of such acts in the modern capitalist era when artists who do seek freedom from racism, military conscription, environmental injustice, and oppressive laws encounter censorship, criminal indictment, incarceration, or worse? If the truest artistic act in an unfree society amounts to committing some type of crime then are bad deeds beautiful?  (The Collective Bad is published in The Collective Good, edited by Michael Birchall and Geir Haraldseth and published in 2017 by Rogaland Kunstsenter, Stavanger. My essay appears on pages 34 to 42.)</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a0acd9d9cab7703a8b7a460e0b90dfc0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55862887,"asset_id":35978470,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55862887/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35978470"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35978470"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35978470; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="8439145" id="blogposts"><div class="js-work-strip profile--work_container" data-work-id="39841608"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39841608/Should_Communist_artist_Victor_Arnautoffs_mural_be_destroyed_"><img alt="Research paper thumbnail of Should Communist artist Victor Arnautoff's mural be destroyed ?" class="work-thumbnail" src="https://attachments.academia-assets.com/60030849/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39841608/Should_Communist_artist_Victor_Arnautoffs_mural_be_destroyed_">Should Communist artist Victor Arnautoff's mural be destroyed ?</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://qc-cuny.academia.edu/httpgregsholettetumblrcom">gregory sholette</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://204.academia.edu/AlanMichelson">Alan Michelson</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/JeffreySkoller">Jeffrey Skoller</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://pratt.academia.edu/ToddAyoung">Todd Ayoung</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/DreadScott">Dread Scott</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://brooklyn-cuny.academia.edu/LibertadGuerra">Libertad Guerra</a></span></div><div class="wp-workCard_item"><span>Welcome To Our Bare Art World</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">San Francisco's school board recently voted to essentially destroy a 1936 mural by Victor Arnaut...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">San Francisco's school board  recently voted to essentially destroy a 1936 mural by Victor Arnautoff because some parents of color find its representation of race troubling or even racist. This blog post from June 2019 includes responses to this decision from nine contemporary artists and intellectuals, eight are artists of color.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="365bbe534d3c416c3cb7e5effa01913a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60030849,"asset_id":39841608,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60030849/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39841608"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39841608"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39841608; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37464380"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37464380/_Make_Not_Take_Tim_Rollins_speaking_on_Group_Material_democracy_Da_Zi_Baos_public_art_and_critical_theory_in_a_1996_interview_with_G_Sholette"><img alt="Research paper thumbnail of " Make Not Take, " Tim Rollins speaking on Group Material, democracy, Da Zi Baos, public art, and critical theory in a 1996 interview with G. Sholette" class="work-thumbnail" src="https://attachments.academia-assets.com/57432817/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37464380/_Make_Not_Take_Tim_Rollins_speaking_on_Group_Material_democracy_Da_Zi_Baos_public_art_and_critical_theory_in_a_1996_interview_with_G_Sholette">" Make Not Take, " Tim Rollins speaking on Group Material, democracy, Da Zi Baos, public art, and critical theory in a 1996 interview with G. Sholette</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A 1996 interview with the late Tim Rollins who co-founded Group Material and Kids of Survival (KO...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A 1996 interview with the late Tim Rollins who co-founded Group Material and Kids of Survival (KOS), and who died prematurely this past December 2017. This interview, of which this only a lightly edited excerpt, was part of my research for my 2010 book Dark Matter and therefor never published in itself. Here we find Rollins with energy, optimism and ideas that sparkle into existence as if one were watching a meteor shower on a moonless night. Of particular interest is his insistence on the formal, some might even say formalist dimension of visual art as it intersects with politics, economics and social concerns.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c39c39ec0486492576e85d06537948c0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57432817,"asset_id":37464380,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57432817/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37464380"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37464380"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37464380; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37464380]").text(description); $(".js-view-count[data-work-id=37464380]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37464380; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37464380']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c39c39ec0486492576e85d06537948c0" } } $('.js-work-strip[data-work-id=37464380]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37464380,"title":"\" Make Not Take, \" Tim Rollins speaking on Group Material, democracy, Da Zi Baos, public art, and critical theory in a 1996 interview with G. 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Today the focus has shifted almost entirely to the nation’s southwest border. For the past 13 years Cruz has been drawing creative inspiration from these high density border regions where the detritus and the wealthy El Norte intersects with the imaginative needs of the developing self. Cruz waggishly describes the resource rich county of San Diego as the Home Depot of Tijuana. This is an interview I conducted with Cruz in the Spring of 2011 for Creative Time's Artists on the News series.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5c99640d981e5815a1f7fd1dd2e65b55" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57285708,"asset_id":36960797,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57285708/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36960797"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36960797"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36960797; 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Welcome to the weirdly mundane, or what political scientist Rebecca Bryant terms, “the uncanny present,” a present that is unfamiliar in its presentness.  With only slight variation this claustrophobic now is like Freud’s symptom of repetition, except without an underlying trauma. Or perhaps more accurately, it is an eerie traumaless trauma: a flat, automated affect that whatever passes for social collectivity manufactures as the internalized, subjective accompaniment to Jodi Dean’s notion of “politics without politics.”</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8f01c44dbc3eb266edbf06950d239650" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57285709,"asset_id":34234318,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57285709/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34234318"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34234318"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34234318; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="19873679"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/19873679/That_Which_Must_Not_Be_Named"><img alt="Research paper thumbnail of That Which Must Not Be Named" class="work-thumbnail" src="https://attachments.academia-assets.com/40891836/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/19873679/That_Which_Must_Not_Be_Named">That Which Must Not Be Named</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A dual book review of Bruno Bosteels’ The Actuality of Communism and Stevphen Shukaitis’ The Comp...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A dual book review of Bruno Bosteels’ The Actuality of Communism and Stevphen Shukaitis’ The Composition of Movements to Come (Sholette: 2015) Available online fro Critical Inquiry at: <a href="http://criticalinquiry.uchicago.edu/that_which_must_not_be_named/" rel="nofollow">http://criticalinquiry.uchicago.edu/that_which_must_not_be_named/</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="80c8103c5f0a65286cac80d944f398b7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":40891836,"asset_id":19873679,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/40891836/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="19873679"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="19873679"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 19873679; 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Review of "Collectivism after Modernism: The Art of Social Imagination after 1945" by Blake Stimson and Gregory Sholette" class="work-thumbnail" src="https://attachments.academia-assets.com/57287898/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/6299320/Roman_Petruniak_Review_of_Collectivism_after_Modernism_The_Art_of_Social_Imagination_after_1945_by_Blake_Stimson_and_Gregory_Sholette">Roman Petruniak. Review of "Collectivism after Modernism: The Art of Social Imagination after 1945" by Blake Stimson and Gregory Sholette</a></div><div class="wp-workCard_item"><span>Caa.reviews</span><span>, 2008</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="96da00b7bcd8bef128f2de0e90e9b722" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57287898,"asset_id":6299320,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57287898/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="6299320"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="6299320"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 6299320; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=6299320]").text(description); $(".js-view-count[data-work-id=6299320]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 6299320; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='6299320']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "96da00b7bcd8bef128f2de0e90e9b722" } } $('.js-work-strip[data-work-id=6299320]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":6299320,"title":"Roman Petruniak. 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href="https://www.academia.edu/2482301/Dark_Matter_the_political_economy_of_the_art_world_and_its_missing_mass">Dark Matter: the political economy of the art world and its missing mass</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Gregory Sholette -Pluto Press, £17.99 I recently read that such is the allure of elite high art t...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Gregory Sholette -Pluto Press, £17.99 I recently read that such is the allure of elite high art that it attracts more money to London than anything else except the stock market.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2e4da6ee778200b3e3bb1297a5563222" 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data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/44608562/Five_Devilish_Definitions_in_Under_Eight_Minutes_Video_Presentation_2020_">Five Devilish Definitions in Under Eight Minutes (Video Presentation: 2020)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Some previous and some new additions for my Glorypedia, an ongoing homage to Ambrose Beirce (and ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Some previous and some new additions for my Glorypedia, an ongoing homage to Ambrose Beirce (and Raymond Williams and Jorge Luis Borges) including definitions for: Dark Matter, Bare Art, Mockstitutions, the unpresent, and Monumenticide. (Nov. 2020)</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44608562"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44608562"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44608562; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44608562]").text(description); $(".js-view-count[data-work-id=44608562]").attr('title', description).tooltip(); 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Its argument pivots on the idea that high culture has been stripped clean of its mystery and illusions regarding any significant distance from capitalist markets. This subsumption leaves us to confront a “bare art world”: spectacular, shadowless, it is a space lacking neither depth nor negation. What then if any resistance is possible within this unconcealed nakedness where the 1% flaunts its wealth and power brazenly without the need for ideological cover? The answer is found within the very paradoxes of capitalism itself, only now these contradictions are turned-up full volume.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="47cf405154d4d4fcc814688b47f211f3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54008504,"asset_id":34073112,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54008504/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34073112"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34073112"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34073112; 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