Yesterday’s May Day protest in NYC might have failed to shut the system down, but it did successfully galvanize Occupy’s disparate interest groups into one powerful amalgamation, proving the movement’s lack of cohesion, more accurately its complexity, is a strength that defines it.
At around 3pm, Union Square swelled far beyond the capacity of Zuccotti Park, which made it possible for many different pockets of people to develop and do their own thing. Of course, there were drum circles, plural, and anarchist pamphleteers — common staples of Occupy Wall Street, but their presence was rivaled by a big brass band stand, the orations of a poetry assembly and the deafening silence of group meditation. And, how could I forget the Occupy Arts and Labor group, whose colorful fabric banners and hand painted posters provided a much appreciated dose of creativity, among the multitude of cardboard and marker signs.
As the various labor unions arrived to march on the street, the police barricades set up to corral the rest of the mass within the park became permeable somehow, and soon all walks of life — in the tens of thousands — occupied Broadway. No rioting was to be had, mostly peaceful strolling with sporadic bursts of chants, but the march was a resounding victory given May Day’s objective: to resurrect what began last fall. Occupy Wall Street might have seemed to be in hibernation post-Zucotti Park, but it is clear that Occupy is a different beast than what it was before, with a multifarious face that defies the diminutive recognition of bygone headlines.
Here are some images from the protests more art-related moments.
All photos by the author for Hyperallergic.
Curators Tahnee Ahtone, La Tanya S. Autry, Frederica Simmons, Dan Cameron, and Jeremy Dennis offered the public a window into their curatorial processes through the work they produced during their fellowships.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Jeremy Dennis presents an exhibition to offer insight into his curatorial process.
Who says tragedy has to be tragic? Co-presented with National Black Theatre, this fresh, Pulitzer-winning take on a classic centers Black joy and liberation.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Dan Cameron presents an email exhibition to offer insight into his curatorial process.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Frederica Simmons presents an email exhibition to offer insight into their curatorial process.
For the triennial’s eighth edition, work by more than 70 artists is featured in 12 exhibitions and a polyphonic program, installed at various locations throughout the German city.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, La Tanya S. Autry presents an exhibition to offer insight into her curatorial process.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Tahnee Ahtone presents an email exhibition to offer insight into her curatorial process.
This exhibition explores the work and short-but-impactful life of the groundbreaking ceramic artist. Now on view at the New Orleans Museum of Art.
This week: Why does the internet hate Amber Heard? Will Congress recognize the Palestinian Nakba? And other urgent questions.
Artist Dan Jian makes the point that landscapes and memory are one and the same.
Murch’s painted dust can be so tangible you feel compelled to wipe off the picture.