Occupy Museums returns to MoMA and is joined by Art Handlers Local 814!
This Thursday 10/27/11
Meet at 2:30 PM, Liberty Square, for an information-sharing assembly.
Or meet at 4:00 PM at MoMA.
We will be joined by the Art Handler’s Union, Teamsters Local 814, who have been locked out of their Sotheby’s union jobs for over three months now. Following Occupy Museums, we will march to the Teamsters’ picket line at the Sotheby’s evening auction, which starts at 6:00 PM on 1334 York Avenue.
Occupy Museums and the Teamsters Local 814 stand together in solidarity!
Please join us and to bring your own manifestos (BYOM), to read in the General Assembly at the doors of the museum! Please keep them short- 3 minutes max so that everyone can participate. For this action
we are moving away from the voice of a sole author to a collective voice. We welcome
all to be part of our assembly!
What is Occupy Museums?
We are artists, art lovers, and art workers! We live and love art and are committed to its growth. However, we see many museums in their current manifestations as key elements of a larger system whose funding structure and relationship to the market, disempowers artists, and alienates art from the 99%. Value is manufactured by false scarcity, propped up by the cult of celebrity and the parlor game of speculation. This undermines the potential power of art to be a much greater force in our society.
We believe that to Occupy is to claim space for dialog and transparency through the physical presence of our bodies. It is to hold space that was previously inaccessible. As Occupiers, we bring the General Assembly to the doors of the museum, to engage in a dialog about the relationships between the arts and capitalism.
This is only the beginning.
At its core, the Occupy Movement is about imagining and building a just and democratic future. It is generative not destructive. We are shifting collective consciousness. We are here to envision what the museum can be, what art can be, and how we can create a society that works for the 100%.
2:30 — Informational assembly at Liberty Square, at tall red structure
3:15 — Occupy 4 train to MoMA
4:00 — General Assembly at MoMA!
5:00 – March or M31 Bus to Sotheby’s at 1334 York Avenue
5:30 — Stand in Solidarity with Teamsters Local 814
…Since then it’s been all clamor: MoMA’s always been a play thing for the rich, how’s this gonna change it? Have “voices of dissent” actually been silenced by BIG money? And my favorite: Why aren’t they targeting something else? (Libraries were tabled at Gothamist, Chelseagalleries and Sotheby’severywhere else).
These are all reasonable questions, but they respond to a single artist’s work — Noah Fischer’scall to action — and not the occupation itself, which is defined by many voices and included poetry, manifestos, and even the General Assembly as proposed works of art. That one artist’s name should be so prominent in a leaderless protest is an obvious flaw in the call to action, which should not only be understood as secondary to the protest itself, but reflective of the artist’s practice. Fischer has a long history of engaging rhetoric and the language of protest in his work, a background I am more familiar with than most because of our friendship [<——- disclaimer here]. The call, as I see it, is essentially a work of pastiche.
“Understanding Occupy Museums is understanding what Occupy is,” Fischer told me. It’s a point that may have little meaning even to those who have spent time at Zuccotti Park. I myself have given up trying to explain to naysayers why anyone should care about a crowd with a DIY microphone, five hundred different opinions, and zero leadership; the only way to understand the movement is through extended participation. Fischer, a long time participant in the Occupy Wall Street movement, does a far better job on that front, describing its uniqueness as a kind of “social software” and a “physical embodiment of the Internet.”
“Little groups of people form, and they’re not closed like cliques, like in other social situations – it’s all about information sharing,” he told me over the phone. “There’s larger forums where we can communicate, too, and this kind of open identity and anonymity at the same time in the way that you interact with people. It just seems like you’re literally walking around in a kind of an Internet space.”
This is what is new and transformative about the movement and, ultimately, what Occupy Museums is about: using the open process of self-education as a means of self empowerment. It is a fight against passivity, and a demand that the people of all income stratas be given a voice.
Art Fag City's Reid Singer Interviews David Shrigley
GOTH, GLASGOW, AND GALLERIES
RS: A lot of my favorite drawings of yours have something to do with death, graveyards, etc. There’s got to be something virile and attractive and sexy about being really into death, maybe even doing things that might be perceived as goth, like Ian Curtis. Did you ever draw with the idea that people are going to be impressed by how dark you were?
DS: No. Well, it’s supposed to be funny not furious. Although Ian Curtis and I were born in the same town, in Macclesfield, outside Manchester.
RS: Fun fact!
DS: Yeah. Famous people from Macclesfield: Ian Curtis and, perhaps, me.
I kind of do have a soft spot for goth, I have to say as an aside. I guess this is supposed to be funny, but I used to be a bit of a goth. I was really into Bauhaus in the early 80s, and I still kind of have a thing for dark metal and stuff like that. I got asked by this band called the Skull Defekts to do a cover for them. They’re a Swedish kind of no-wave band, but very goth, and kind of wonderful. Kind of great in their gothness. But yeah, there’s quite a lot about death in my work.
Occupy Museums! Speaking out in front of the Cannons
The game is up: we see through the pyramid schemes of the temples of cultural elitism controlled by the 1%. No longer will we, the artists of the 99%, allow ourselves to be tricked into accepting a corrupt hierarchical system based on false scarcity and propaganda concerning absurd elevation of one individual genius over another human being for the monetary gain of the elitest of elite. For the past decade and more, artists and art lovers have been the victims of the intense commercialization and co-optation or art. We recognize that art is for everyone, across all classes and cultures and communities. We believe that the Occupy Wall Street Movement will awaken a consciousness that art can bring people together rather than divide them apart as the art world does in our current time…
Let’s be clear. Recently, we have witnessed the absolute equation of art with capital. The members of museum boards mount shows by living or dead artists whom they collect like bundles of packaged debt. Shows mounted by museums are meant to inflate these markets. They are playing with the fire of the art historical cannon while seeing only dancing dollar signs. The wide acceptance of cultural authority of leading museums have made these beloved institutions into corrupt ratings agencies or investment banking houses- stamping their authority and approval on flimsy corporate art and fraudulent deals.
For the last few decades, voices of dissent have been silenced by a fearful survivalist atmosphere and the hush hush of BIG money. To really critique institutions, to raise one’s voice about the disgusting excessive parties and spectacularly out of touch auctions of the art world while the rest of the country suffers and tightens its belt was widely considered to be bitter, angry, uncool. Such a critic was a sore loser. It is time to end that silence not in bitterness, but in strength and love! Because the occupation has already begun and the creativity and power of the people has awoken! The Occupywallstreet Movement will bring forth an era of new art, true experimentation outside the narrow parameters set by the market. Museums, open your mind and your heart! Art is for everyone! The people are at your door!
Day 1, Thursday Oct. 20th: Revised Schedule:
3:00 Meet at Liberty Park Teach-in about the museums we are going to occupy
4:15 Livestream- read document in front of 5000 viewers.
Occupy the 4 train
5:00 Occupy MoMA hours: 10:30-5:30 11 W 53rd street New York, NY
Occupy the M3 Bus
6:00 Occupy Frick Collection hours: 10:00-6 PM 1 East 70th Street, New York, NY
Occupy the 6 train
7:00 Occupy New Museum Thursdays 6-8 free 235 bowery
2003 interview with the 2channel founder Nishimura with Japan Media Review Q: Why did you decide to use perfect anonymity, not even requiring a user name?A: Because delivering news without taking any risk is very important to us. There is a lot of information disclosure or secret news gathered on Channel 2. Few people would post that kind of information by taking a risk. Moreover, people can only truly discuss something when they don’t know each other.If there is a user ID attached to a user, a discussion tends to become a criticizing game. On the other hand, under the anonymous system, even though your opinion/information is criticized, you don’t know with whom to be upset. Also with a user ID, those who participate in the site for a long time tend to have authority, and it becomes difficult for a user to disagree with them. Under a perfectly anonymous system, you can say, “it’s boring,” if it is actually boring. All information is treated equally; only an accurate argument will work. http://en.wikipedia.org/wiki/2channel
The only way to succeed on the interwebs is “honesty.”
Ripps has “two Tumblr and three Twitter accounts,” which somehow doesn’t seem like nearly enough.
He feels the emotional pull of Monster Energy advertising (who can deny those claw marks?) and is obsessed with “pubescent male aggression.”
Being an outsider artist like Henry Darger is “really bleak and not glamorous at all.”
It’s not about the number of likes, “it’s about the strength in passion.”
Triple Canopy is cool and all, but watching Harry Potter, “I had different kinds of magic-wand effects coming at my face, and you’re trying to come at me with some primary-color block floating on the screen?”
That last quote was followed by, “Eat it!” but they made me take that out.