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CS13’s Ambitious Efforts around ART WORK

CS13 is an independently run space in Cincinnati. They hosted some exciting activities around ART WORK: a public discussion,  a fundraiser, and they even published their own booklet on similar issues effecting people directly in Cincinnati.

The show consisted of a large group reading and discussion of Art Work that was open to the public, hosting [...]

Red Lines & Death Vows: Mortgage Politics in the 20th Century

Red Lines & Death Vows

These 9 posters were originally produced as lightboxes for Red Lines Housing Crisis Learning Center, an exhibition I designed about the politics of mortgages, held at the Queens Museum of Art in the summer of 2009.

Report on The City From Below

In March 2009, Red Emma’s (a worker-owned and democratically managed bookstore and coffeehouse), the Baltimore Development Cooperative (an artist group) and the Indypendent Reader (a free quarterly newspaper) co-organized a conference in Baltimore called “The City from Below.” Our motivation for the conference came out of our own organizing experience and a shared recognition that the city is increasingly the space in which all of our diverse struggles for social justice – for affordable housing, environmental justice, prison abolition, living wages, food security, decent public education – have the potential to come together and form something greater.

Lansing and Three Fires Territory: Toward an Activist-Based Indigenous Neo-Regionalism

Let me be honest. The radical arts infrastructure in Michigan, much like its present economic state, has faced better days. When I left the state nearly a decade ago, I never intended to make my way back to Michigan. As someone who was born and raised in rural areas of the state, while also studying art at both the College for Creative Studies (Detroit) and Western Michigan University (Kalamazoo), it didn‘t take long for me to realize that the opportunities to become actively involved in contemporary arts practice were dismal, similar to the fate faced by the rest of Michigan‘s working-class.


We are a duo of artists that has been working together in San Juan, Puerto Rico since 2005. We do not receive sustenance from a patron. On the contrary, to be able to finance all the expenses of our artistic ventures we work like normal people. We‘ve worked with a website, in a house basement, and contribute to independent organizations or those focused on the development of emerging artists, among others.

The website covers events of the young/emerging artistic community. It addresses the need to document and show those cultural activities that are out of the mainstream.

Probably Not Peaches

My egg economy fell out on Monday. All of my quail and all but one of my chickens were killed by a predator with dexterous digits—one that can turn a latch and pry chicken wire away from an armature. Prolly, aka PNP, aka Probably Not Peaches, my one remaining hen, is in a liminal state of health. She is hovering. I am sitting in my bathroom with her. She is breathing deeply, sitting on a bed of straw in a small cage with a dish of her favorite foods nearby: scrambled eggs with crushed egg shell, raisins and chickweed. This food has remained untouched.

Watch Where You Are Putting That Pencil

There might only be one thing worse than the financial support structure for artists: the support structure for art writers. Today, to try and be a writer of essays for catalogs, magazines or journals without being an academic, even a lowly adjunct academic, is to play against long odds. Which is why it feels that traditional scholarly art history writing styles and concerns, which in the past often felt distinctly different than the style and concerns of art criticism, are increasingly on display in contemporary art writing. Academics have the training to finish a text fairly fast and are the only ones who can afford this writing habit, excepting the insane and the independently wealthy.

Lost South

Rather than begin, we surrender. We surrender to Richard Florida, promoter of creative gentrification. Our small, southern city has been intoxicated by the idea that the “creative class” can save a city. While our existing cultural institutions struggle, enormous amounts of money have been spent betting that “creative entrepreneurs” will immigrate here if only there are enough art parties. Art + martini = Artini! Importing a “Creative Class®” is intended to raise property values. No mention is made of what will happen to the uncreative class that currently populates the target neighborhoods.