Tuesday, January 31, 2012
Monday, January 30, 2012
CENTER FOR THE STUDY OF POLITICAL GRAPHICS has a number of online exhibitions from their catalog. 
The collection this image is from is based entirely on new political graphics that appropriate well-known artworks.
The collection this image is from is based entirely on new political graphics that appropriate well-known artworks.
“Elections are a Con” – Censorship by the provincial government of Tyrol
On November 21, 2011, I received a funding commitment from TKI – Tiroler Kulturinitiativen / IG Kultur Tirol. This resulted from an exemplary transparent juried process that selected, from 56 proposals, seven projects for funding, including my poster project “Wahlen sind Betrug” (“Elections are a Con”). The posters with the terse slogan “Elections are a con” were to be displayed over a period of two weeks in Innsbruck (Austria) as a series of city-light posters or on large billboards.
On November 21, 2011, I received a funding commitment from TKI – Tiroler Kulturinitiativen / IG Kultur Tirol. This resulted from an exemplary transparent juried process that selected, from 56 proposals, seven projects for funding, including my poster project “Wahlen sind Betrug” (“Elections are a Con”). The posters with the terse slogan “Elections are a con” were to be displayed over a period of two weeks in Innsbruck (Austria) as a series of city-light posters or on large billboards.
the Posters of Occupy Wall Street
A collection of posters made by many people since Sept.17, 2011.
"Occuprint emerged when The Occupied Wall Street Journal asked us to guest curate an issue dedicated to the poster art of the global Occupy movement. The Occuprint website is meant to connect people with this work, and provide a base of support for print-related media within the #Occupy movement."
LINKED HERE FOR MORE
READ their Curatorial Statement They state in there that they privilege geographic diversity in looking at submissions.
The Posters of OWS
"Occuprint emerged when The Occupied Wall Street Journal asked us to guest curate an issue dedicated to the poster art of the global Occupy movement. The Occuprint website is meant to connect people with this work, and provide a base of support for print-related media within the #Occupy movement."
LINKED HERE FOR MORE
READ their Curatorial Statement They state in there that they privilege geographic diversity in looking at submissions.
The Posters of OWS 
Posters from Cuba
This is a blog with mainly cinema posters by Cuban graphic designers but also some movement art. CUBAN POSTERS
René Mederos has combined playful graphics, photo montage and an element of surrealism to create this sinister, dramatic image of Nixon as a bird of prey ripping the heart out of North Vietnam and Laos. The bird has the look of a Nazi-era eagle.
Solidarity with Palestine - Abelenda 1968
This 1968 poster once again mixes a very serious political issue - the ongoing conflict between Israel and Palestine - with some inventive and bright graphics. The warm colours and psychedelic text create a positive vibe. The heroic armed character is the romantic view of the defender of Palestine. Cuban support of Palestine is typical of the anti-Western sentiment that flows through the graphics and iconography of its poster output.
Mas Revolucion
Mas Revolucion (More Revolution) is a text only poster proclaiming war on a variety of imperialist traits - vice, egoism, exploitation, individualism, etc. Compared to a lot of Cuban posters this is very restrained but it still makes great use of scrapbook style cartoon font - once again a playful and fun style for a serious message.
I don't know the date, the agency that issued this or the artist. I suspect Bachs but similar font style turns up in posters by a number of artists.
Hasta la Victoria Siempre - Rostgaard 1968
One of the more famous Cuban posters, this 1968 poster by Rostgaard for a Santiago Alvarez documentary makes use of Korda's iconic image of Che Guevara. Hasta la Victoria Siempre (Onwards Forever to Victory) is Che's declaration of commitment to the revolutionary struggle. It's a simple pop-art style poster that places Che's iconic image in a heavy-bordered black box - a common method of displaying images of the dead in some cultures.
René Mederos has combined playful graphics, photo montage and an element of surrealism to create this sinister, dramatic image of Nixon as a bird of prey ripping the heart out of North Vietnam and Laos. The bird has the look of a Nazi-era eagle.
Solidarity with Palestine - Abelenda 1968
This 1968 poster once again mixes a very serious political issue - the ongoing conflict between Israel and Palestine - with some inventive and bright graphics. The warm colours and psychedelic text create a positive vibe. The heroic armed character is the romantic view of the defender of Palestine. Cuban support of Palestine is typical of the anti-Western sentiment that flows through the graphics and iconography of its poster output.
Mas Revolucion
I don't know the date, the agency that issued this or the artist. I suspect Bachs but similar font style turns up in posters by a number of artists.
Hasta la Victoria Siempre - Rostgaard 1968
One of the more famous Cuban posters, this 1968 poster by Rostgaard for a Santiago Alvarez documentary makes use of Korda's iconic image of Che Guevara. Hasta la Victoria Siempre (Onwards Forever to Victory) is Che's declaration of commitment to the revolutionary struggle. It's a simple pop-art style poster that places Che's iconic image in a heavy-bordered black box - a common method of displaying images of the dead in some cultures.
Wednesday, January 25, 2012
UC Berkeley Cal Disorientation guide
also linked permanently to the right.
CAL DISORIENTATION GUIDE
"This is the 2010 Cal Disorientation Guide Online Edition! It was created as an anti-orientation guide. As the guide you will never get from CalSO, your dorm, or the Daily Cal.
We have prepared a guide that touches on media, food, sex, movies, labor, privatization, satire, history, representation, events, research, and much more. We have a print edition (which you can download as a pdf), but here you will find exclusive online articles as well as videos and links that relate to the various articles. Enjoy."
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UC Berkeley Students Release Alternative “Disorientation Guide” for 2010 School Year
From Alex Ghenis
Tuesday August 24, 2010 - 07:54:00 AM
A group of UC Berkeley students have created an alternative guide to the campus and are releasing copies this week. The packet, termed “Disorientation Guide,” features over 20 articles highlighting rarely-discussed aspects of Berkeley. It is meant to show student perspectives from the campus’s activist core. MORE
CAL DISORIENTATION GUIDE
"This is the 2010 Cal Disorientation Guide Online Edition! It was created as an anti-orientation guide. As the guide you will never get from CalSO, your dorm, or the Daily Cal.
We have prepared a guide that touches on media, food, sex, movies, labor, privatization, satire, history, representation, events, research, and much more. We have a print edition (which you can download as a pdf), but here you will find exclusive online articles as well as videos and links that relate to the various articles. Enjoy."
-----
UC Berkeley Students Release Alternative “Disorientation Guide” for 2010 School Year
From Alex Ghenis
Tuesday August 24, 2010 - 07:54:00 AM
A group of UC Berkeley students have created an alternative guide to the campus and are releasing copies this week. The packet, termed “Disorientation Guide,” features over 20 articles highlighting rarely-discussed aspects of Berkeley. It is meant to show student perspectives from the campus’s activist core. MORE
Sunday, January 22, 2012
Prison Information Group, circa 1971, France
Groupe d’Information sur les Prisons
In 1971, in France, Michel Foucault, Jean-Marie Domenach & Pierre Vidal-Naquet decided to make the hermetic border between the societal space and the zones of exclusions that prisons embodies, more porous. They thus created a collective entitled Groupe d’Information sur les Prisons (Prison Information Group). In fact, this group was trying to extract information from within those zones to put society in front of its responsibilities, but it also attempted to bring information the other way around, from the milieu depending on law to the milieu in which law is suspended. Members of the collective would therefore make pressure (and actually succeed) to bring the radio and newspaper within prisons, or stand outside and scream information in megaphones. From this BLOG- FOR MORE
In 1971, in France, Michel Foucault, Jean-Marie Domenach & Pierre Vidal-Naquet decided to make the hermetic border between the societal space and the zones of exclusions that prisons embodies, more porous. They thus created a collective entitled Groupe d’Information sur les Prisons (Prison Information Group). In fact, this group was trying to extract information from within those zones to put society in front of its responsibilities, but it also attempted to bring information the other way around, from the milieu depending on law to the milieu in which law is suspended. Members of the collective would therefore make pressure (and actually succeed) to bring the radio and newspaper within prisons, or stand outside and scream information in megaphones. From this BLOG- FOR MORE
Monday, January 16, 2012
Journal of Aesthetics and Protest: Acting/working together/acknowleging history
We Issue 5 Journal editors meet together at this brown kitchen table, often with wine or beer. Sometimes in the middle of our meeting, we go outside for cigarette breaks. We talk to explore ways of action and to agree on what is worth printing for you. It is difficult to schedule meeting times. With jobs, childcare, social lives and private time, it seems like we are always finding that one shelf spot behind the raisins to place this project. We frequently disagree on the simplest of terms (language and exchange); when disagreeing we try hard not to see conflict as a problem. We’ve all shared significant experience. We share a desire for social change and visions of the many ways in which it may or may not occur. When speaking and listening to one another we remember collective histories. We seek contexts to make use of these histories. We try embracing differences, either bridging gaps or gaping at the chasms. Ultimately, we now try to appreciate whatever we have between us.
How do we say we?
Arguably, today the act of social networking is commodified more visibly and materially than ever before, so we are not here lightly focusing on ourselves.
This commodification shoudn't hinder us to work in relation ship to one another and in a social and political context. Social memory with a sense of history and political demands seems to have undergone an accelerated and profound erasure. This rapid memory loss is facilitated by media consolidation and the plundering of public education programs to fund global mercenary actions.
In art production the commodification of the social and the erasure of the political is expressed as relational aesthetics, a pseudo-democratic practice that often is reflective of the values of global capitalism.
However, there is some value to the art world's focus on social relations and community. Collaboratively writing this forward, relational aesthetics came up with the magazine’s content. Situating ourselves into a social context is difficult because one is dealing with people's complexities. Recently, the Journal had the opportunity to collaborate with people whose actions we feared might alienate our readership. We faced a tough decision- piss on an opportunity or piss off our community. We decided to check in with our community; asking them, “what do you think about this situation…”, thus choosing to act as though someone holds us accountable. In printing our magazine the important thing is the relationship- building up and maintaining value in the trust that others put in each other toward shared ideals.
How can we work together?
How do we say we?
Arguably, today the act of social networking is commodified more visibly and materially than ever before, so we are not here lightly focusing on ourselves.
This commodification shoudn't hinder us to work in relation ship to one another and in a social and political context. Social memory with a sense of history and political demands seems to have undergone an accelerated and profound erasure. This rapid memory loss is facilitated by media consolidation and the plundering of public education programs to fund global mercenary actions.
In art production the commodification of the social and the erasure of the political is expressed as relational aesthetics, a pseudo-democratic practice that often is reflective of the values of global capitalism.
However, there is some value to the art world's focus on social relations and community. Collaboratively writing this forward, relational aesthetics came up with the magazine’s content. Situating ourselves into a social context is difficult because one is dealing with people's complexities. Recently, the Journal had the opportunity to collaborate with people whose actions we feared might alienate our readership. We faced a tough decision- piss on an opportunity or piss off our community. We decided to check in with our community; asking them, “what do you think about this situation…”, thus choosing to act as though someone holds us accountable. In printing our magazine the important thing is the relationship- building up and maintaining value in the trust that others put in each other toward shared ideals.
How can we work together?
Andrea Bowers: Non-violent Civil Disobedience training
Civil Disobedience Training. Watching versus doing. Documenting versus acting. 2 screen video documenting a non violent civil disobedience training session. Where was this video shown and what kinds of audiences respond?
Sunday, January 8, 2012
Wanderer, there is no road; the road is made by walking
Wanderer, your footsteps are
the road, and nothing more;
wanderer, there is no road,
the road is made by walking.
By walking one makes the road,
and upon glancing behind
one sees the path
that never will be trod again.
Wanderer, there is no road--
Only wakes upon the sea.
**************************
Caminante, son tus huellas
el camino, y nada más;
caminante, no hay camino,
se hace camino al andar.
Al andar se hace camino,
y al volver la vista atrás
se ve la senda que nunca
se ha de volver a pisar.
Caminante, no hay camino,
sino estelas en la mar.
the road, and nothing more;
wanderer, there is no road,
the road is made by walking.
By walking one makes the road,
and upon glancing behind
one sees the path
that never will be trod again.
Wanderer, there is no road--
Only wakes upon the sea.
**************************
Caminante, son tus huellas
el camino, y nada más;
caminante, no hay camino,
se hace camino al andar.
Al andar se hace camino,
y al volver la vista atrás
se ve la senda que nunca
se ha de volver a pisar.
Caminante, no hay camino,
sino estelas en la mar.
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