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Argentina's Sex Workers Get Creative

https://www.youtube.com/watch?v=6_wlSzkOlFE Anti-corruption activists unite: The Tea Party and Bold Progressives fighting side-by-side On Saturday, April 13, 2013 at 2 p.m., hundreds of activists marched K Street in Washington D.C. (aka “Influence Alley”) dressed as giant $100 bills.

The State of Things was first performed in the spring of 2006 on the 3rd anniversary of the Iraq war. On September 1st, 2008 in collaboration with Northern Lights as part of the UnConvention, Ligorano/Reese recreated The State of Thing’s Democracy ice sculpture, weighing over 1,000 pounds and measuring 5 feet high and 20 feet wide, in front of the State Capitol Building in St. Paul, Minnesota.

Most cheLA activities are organized around a series of workshops, which may act in combination, are designed as areas of aesthetic, technological and theoretical concentration, and structured to promote their development. Its core activities are research and experimentation residences. As participants in the Parque Patricios neighborhood life, within the Federal Capital, are evident human needs.

In April, 2011, Food and Water Watch partnered with Yes Lab to raise questions regarding drinking water around New York City. Yes Lab, an organization that collaborates with activist groups, aims to create successful media-related creative actions that help raise awareness regarding pertinent causes and create desirable action, often by staging interventions for the existing status quo by imitation and alteration.

MEXICO CITY — Of the half-dozen pieces that form Tania Bruguera’s series “Tatlin’s Whisper,” the one that the Cuban government silenced may have resounded most.

Beautiful Trouble is a book, web toolbox and international network of artist-activist trainers whose mission is to make grassroots movements more creative and more effective.

In Halt, a new solo piece premiered at NYU Gallatin, dancer and choreographer Jamar Roberts examined the language of the body in protest. The work focuses on what it means for human beings-the committed individual and the organized collective- to be equally the subjects of progressive change and the targets of unjust corporeal punishment.

Over the past twenty-five years or so, ever since her spectacular New York début at the Drawing Center, in 1994, the now forty-four-year-old artist Kara Walker’s visual production—sculptures, cutouts, drawings, films—has been diaristic in tone.