Fabled Asp is a multimedia online archive that documents forty years of activist history and creativity. Disabled lesbian activism is a radical assertion of self in the face of societal stigma and marginalization. The project illuminates the myriad ways disabled lesbians have been moving against invisibility through civil rights actions, theater, dance, sports, and visual arts.
The current face of clubhouse will be seeling a NFT of her art at an online marketplace Nifty Gateway, with the proceeds going to the Catalyst Fund for Justice. She is a futirst in her art, using a blend of physical materials and technologies to make pieces. Some range from including virtual realities or creating steel sculptures.
To protest unethical labor practices in Bangladesh, specifically unsafe working conditions, 99 Pickets, The Illuminator, and Ismail Ferdous took action during New York Fashion Week.
Happy Hippie Foundation was created by American singer Miley Cyrus in 2014. The organization based out of Los Angeles is an initiative geared toward ending abuse, intolerance, and discrimination facing LGBTQ youth - often leading to homelessness. By using her visual and vocal artistry to raise awareness concerning homelessness and AIDS prevention, Cyrus is able to set an example and create lasting influence.
This year marks the 50th anniversary of one of this country’s most beloved theater companies. Founded in New York City in 1963, the Bread and Puppet Theater’s first productions ranged from puppet shows for children to pieces opposing poor housing conditions. The group’s processions, involving monstrous puppets, some about 20 feet high, became a fixture of protests against the Vietnam War. "We don’t have playwrights in the theater.
Artist Maya Lin first burst onto the scene in 1981, when her design was selected for the Vietnam Veterans Memorial while she was still a senior at Yale. Since then, Lin has turned her focus to environmental issues, with her most recent show at Pace Gallery investigating Manhattan’s landscape and environmental history.
"Owning a vehicle, you could drive by and with the pressure of your foot on the accelerator and with your eyes on the road you could pass it quickly … The images of poverty would lift and float and recede quickly like the gray shades of memory so that these images were in the past before you came upon them. It was the physical equivalent of the evening news.” — David Wojnarowicz.
TYRE NICHOLS WAS a photographer with an eye for the natural world. He was especially drawn to landscape portraiture, its calm and innocence. It is said that Nichols liked to crane his lens skyward, capturing what sunlight he could before it dissolved into the horizon. As he drove home after taking photos on January 7, he was pulled over by the Memphis police and what happened next was as tragic as it is terribly commonplace. Tyre Nichols is dead at 29.
When Fred Wilson did an installation at the Maryland Historical Society in 1992, he shook up the museum world. Co-sponsored by the historical society and the Contemporary Museum, Mining the Museum did not involve artwork made by the artist; rather, it involved reinstalling items from the historical society's collection in such a way as to make us reconsider them.
With the support of the Amy Rossborough Foundation and several other Yale University affiliated departments, Tamara Leacock, while a senior at Yale University, designed a collection and produced a fashion show that explored through fashion, dance, and carnival an intimate portrait of HIV. The goal of the production was to display HIV in a setting that was intimate, personalized, and displayed with a human face.
The Repellent Fence is a social collaborative project among individuals, communities, institutional organizations, publics, and sovereigns that culminate with the establishment of a large-scale temporary monument located near Douglas, Arizona and Agua Prieta, Sonora. This 2 mile long ephemeral land-art installation is comprised of 26 tethered balloons, that are each 10 feet in diameter, and float 100 feet above the desert landscape.
In May 1992, a series of 24 billboards displaying an identical image began appearing throughout New York City. They featured a giant close-up black-and-white photograph, without text, of a rumpled bed, pillows still indented from the heads that had rested there.
Note before the post: This article is great in highlighting a specific case of creative activism in the streets of New York City, but also gives some contextual background to how this project manifested.
On a sidewalk in the Village in downtown Manhattan, an African-American woman leans on her elbows and knees, wearing only black underpants. Scrawled in black marker all over her body are the words "Ain't I a Woman?"
The frontier between the United States and Mexico is the busiest land border in the world. It is also among one of the world’s most heavily regulated and policed border zones—the arid climate of which is responsible for many migrant deaths each year.
In 2016, the Guggenheim Museum commissioned its very first robotic artwork called Can’t Help Myself (Wannmann, 2016). The artwork is created by two of China’s most controversial artists Sun Yuan and Peng Yu and can be described as a robotic arm that has one specific, life-long duty: to prevent the deep-red, bloodlike liquid, which constantly oozes outwards, from straying too far (Weng, n.d.).
If you headed into the West 4th St. Subway Station on March 9, 2014, you may have seen a group of people writing on cardboard, taping it to the walls, and seemingly holding a small class in the underground space. Those were some of the members of Free University NYC, a radical educational project started during May 2012 as a form of educational strike. They hold classes in public spaces like parks and subway stations, and are entirely free.
Veteran Industrial band Skinny Puppy have objected to their disturbingly dark music being played to discombobulate inmates at Guantanamo, and plan to “charge” the government for doing so. They are not the first band to express such objections.
‘‘HAMILTON,’’ the new musical biography of Alexander Hamilton created by and starring Lin-Manuel Miranda, kicks off with a doozy of a question. The houselights rise on Aaron Burr, the third vice president of the United States and, infamously, the killer of Hamilton in a duel in 1804. Burr steps to center stage and reels off several lines of verse:
The Mission of CAMP is to support and produce socially engaged and aesthetically diverse public art as a grassroots community-based, artist-run organization based in San Francisco.
Clarion Alley Mural Project is a fiscally sponsored project of Independent Arts & Media.
While most people slept, a trio of artists and some helpers installed a bust of NSA whistleblower Edward Snowden in Brooklyn on Monday April 6. They fused it to part of the Prison Ship Martyrs Monument, a memorial to Revolutionary War soldiers. By later that day, officials had removed the bust. But then a group called The Illuminator art collective replaced the missing bust with a hologram projection of Snowden.
In May, the horrific mass shooting in Isla Vista, CA, triggered national conversations about violent misogyny. After some Twitter users began using the hashtag #NotAllMen to defensively derail the conversation, the hugely popular hashtag #YesAllWomen emerged, getting tweeted over 1 million times within just a few days.
AN UNPRECEDENTED COALITION of workers from some of America’s largest companies will strike on Friday. Workers from Amazon, Instacart, Whole Foods, Walmart, Target, and FedEx are slated to walk out on work, citing what they say is their employers’ record profits at the expense of workers’ health and safety during the coronavirus pandemic.
Students from Colombia College teamed up with Greenpeace and The Yes Men to take on the Chicago coal industry in an elaborate, multi-layered hoax. The group created a scheme to announce that a new coal plant was planned—but instead of going in a poor neighborhood (like the two coal plants that already exist), this one would be built in a rich one.