
I am sooooo going to see the movie
"V for Vendetta" when it comes out...apart from the trailers looking really stunning, the tagline "The people should not be afraid of their government, the government should be afraid of their people" is quite a hook. Today's San Francisco Chronicle newspaper
raved about it, saying that it's skirting (--happily--) dangerously close to being a larger critique on today's governmental policies with visual allusions to both Abu Graib photos, the Holocaust,
The Battle of Algiers, A Clockwork Orange, and "1984". I forgive Natalie Portman for participating in the Star Wars Trilogy over this. Going bald and becoming a resister has won brownie points from me. Sometimes I'm shocked that a major film studio would go down this route...amazing. Will report back when I have partaken.
We've been talking about the place of politics within artwork in the sculpture class I teach at CCA, and it's been really interesting. Many of my students are lamenting the effectiveness of addressing politics within their own work as a means for real change, and I've been advocating that they not necessarily place all their eggs in one basket--that it's fine to feel you need to address an "issue" in your artwork, but real change can come faster from direct action. Don't get me wrong, I am a strong advocate for socially-conscious and politally aware work, but I also know that it can wind up becoming a self-circulating dialogue that doesn't necessarily implicate any need for change. I also feel that works that are not overtly known as political can be the most amazing manifestations of both art and critique--look at Orson Welles'
Citizen Kane.
art for DVD re-release, The Battle of AlgiersRecently I've been reading a lot of historical texts and documentation on labor movements of the 30s, as well as primary socialist American documents from the 60s. If you're interested, a really great book is
"The Cultural Front," which analyzes film, visual art, theater, and music from the heydey of union activism in the 30s, and also adddresses the systematic destruction of government-funded creativity due to the subsequent War #2, Cold War, and Red Scare. It's a great read and a wealth of information. I'm convinced we need to look to history to learn possible answers for today. I get so enraged with the over-hyping of today's society as being "ahistorical" in the sense that since we're in such a fast-forward, globalized world, historical movements don't apply anymmore. I think it's brainwashing folks into not remembering the days in which collective action really made a difference. I mean, good god, the Industrial Revolution was a monumental upheaval, radically changing Western economies, displacing people, and creating major class differences. Today, it's obviously more complex, but still similar, and we have a lot to learn from looking back.
my friend Amy Balkin's poster project in conjunction with her larger effort This Is the Public Domain.On an interesting observation note, I have been noticing a resurgence in the retro visuals of political protest popping up lately (Russian Constructivist, revolutionary, purposefully hand-made looking silkscreened posters a la 60s handbills, etc). Look at the advertising for
V for Vendetta, the recent Napster ads, and at CCA there is a poster campaign for the artist Thomas Hirschhorn sporting some serious retro protest. Whether this is just aping the visuals of the revolution with no real meat behind it, I've become very fond seeing these types of things around, for if anything they make me feel like perhaps out of curiousity people will try to figure out where the style originated from.
Napster's latest ad campaign--revolution or placebo?There's an
art exhibition on the Black Panther Party opening up at Yerba Buena Center for the Arts, San Francisco's local alternative museum space, and I am incredibly curious to see how it resonates within today's audience. This weekend is the
Anarchist Book Fair in the city, too.
Does this all mean anything? Is it because I live in San Francisco, home of the self-professed counterculture movement (but alas, short lived and everyone turned into rich yuppies with SUVs) that I am noticing this? Is it wishful thinking on my part? Is there something brewing, or is it just a visual panacaea to lull us into thinking that we are, indeed, thinking about revolution?
Pirkle Jones, "Women, Free Huey Rally, Oakland," 1968, from the Black Panther exhibition
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