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If you’ve been following Occupy Wall Street, then you’ve heard the question a million times, and may even be asking it yourself: what are the movement’s demands? What do they hope to accomplish?
It’s a question that seems impossible and also unreasonable to answer when you consider how diverse Occupy Wall Street has become. But protesters themselves are still searching to find some answers. The “Declaration of the Occupation of NYC” (pictured left) created by Rachel Schragis is a start. Sent out on the OWS Arts and Culture listserv yesterday, the web of grievances and facts was a collaborative effort, made with input from Arts and Culture, other working groups and crowd-editing sessions at Zuccotti Park.
While the web is more informational than artistic, its one of the more nuanced and concrete visuals of the movement that I’ve seen. Its a reminder that at this still young point in the movement, art that deals directly with the issues at hand can have more punch than an abstract or conceptual work. The web also articulates the role of art in Occupy Wall Street — a way to connect people to the movement without diluting all of its wonderful and challenging complexities.
Possibly the one demand the web does call for is simply this: to recognize that our grievances are all connected.
I reached out to Schragis for comments on the piece and she will be posting a statement to the A&C listserv soon. There is chatter on the Google group about possibly turning it into a poster or using it at future gallery shows. For now, you can dive into the many layers of the Declaration by clicking here.
Tabitha Arnold’s rugs pay tribute to organizers who lay their bodies on the line in the workplace, in the public square, and in the depths of private prisons.
The intentionality of Booker’s abstraction gives me the impetus to discuss something about the current zeitgeist that’s been on my mind for a while.
The Morgan Library & Museum Presents Another Tradition: Drawings by Black Artists from the American South
This exhibition celebrates the Morgan’s recent acquisition of drawings by Thornton Dial, Nellie Mae Rowe, Henry Speller, Luster Willis, and Purvis Young.
After years in the making, New Time opens at the Berkeley Art Museum and Pacific Film Archive.
The museum details the process of moviemaking, from its inception in storytelling all the way to its marketing. But interwoven into these exhibits are ugly truths.
Part of the John Michael Kohler Arts Center in Sheboygan, Wisconsin, the Art Preserve also functions as a curated collection facility and is filled with immersive installations.
The former panels, removed in 2017, featured images dedicated to Confederate Generals Stonewall Jackson and Robert E. Lee.