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by Mary Jo Aagerstoun
Why is it, I wonder, that activist art is so often seen as limited to posters or
demonstration props? There is a rich tradition of art for activism reaching back
to ancient history’s processions and spectacles. The common denominator is
a “pattern language” consisting of flexible, interlinked tools that allow practitioners
to apply them in unique ways in different situations.
Essentially, activist art is analogous to theater. The process includes coming
up with the central idea, creating a story, developing a script, rounding out
the key roles and the responsibilities of those “playing” them, casting for the
roles, rehearsals, costume, prop and scene design and making. Artists must
be engaged with every stage of the process of creating activist art, not just
called on at the last minute to come up with a well-designed logo, banner or
puppet. And, all of this must be done in conjunction with the advocates and
specialists with deep knowledge of the subject.
In our current (2017) situation and going forward, I hope it is clear that not
only are activist interventions that apply great aesthetics needed, they are
required. We need actions that continue, expand, and localize mobilizations
(like the current RESIST actions across the country) with indelible images
that burn into the public consciousness. We need actions that amplify the
warnings from our scientists, back up the legal strategies of advocates, and
are based in careful forethought and planning. It will not be enough for our
actions addressing the rapidly morphing political threats attacking from all
sides, to pursue unvarying strategies. We must be prepared with a toolkit of
diverse methods and a tactical mindset.
And, artists themselves must have courage. Even when not engaging activist
art practice, most artists today feel their precarity, marginalization and vulnerability
daily.
So, what would such a truly effective use of art and aesthetic methods in
activism look like? Some great ones are in my 2015 essay for Love the Everglades Movement: http://www.lovetheeverglades.org/blog/effective-resistance-dreaming-the-future-we-need
And, here are a few more of my favorites:
--the now venerable Guerrilla Girls. Sometimes it is crucial to hide your true
identity. Many artists fear engaging in high profile activist art interventions,
and for very good reasons. Artists who act outside the gallery and museum on
controversial issues of importance are under suspicion and attack both inside
and outside the art world. The identity of the GGs is by now, three decades
on, a public secret. Largely because, in 2017 their popularity has not waned,
and they exhibit and perform activism across the planet.
--Reverend Billy and the Stop
Shopping choir. Definitely not
Guerrilla, this band of pranksters
have, since 1999, skillfully
deployed humor, irony
and music to bring the sordid
activities of corporations and
academia to light. Viz this superb
action “exorcising” the
robobee at Harvard University
a couple of years ago.
Natalie Jeremijenko’s “Art of
the Eco-Mindshift.”. The project
of hers I love best is the X
Clinic in which Dr. J (an engineer
and an artist who teaches
at NYU), sets up her clinic
in high traffic areas, inviting
passersby into an “environmental
diagnosis” in which the
“clinicians” hear out the issue
the person is most concerned
about, then writes a “prescription”
for action s/he can take.
Dr. J says: “We work with IMpatients
rather than PATIENTS!” A frequent prescription is urban farming Dr.
J calls the FARMacy. Truly worth it to catch Dr. Jeremijenko’s TED talk https://www.ted.com/talks/natalie_jeremijenko_the_art_of_the_eco_mindshift)
Mary Jo Aagerstoun has studied a lot of activist art history and theories of
cultural activism. She enjoys brainstorming with likeminded folk on how to
get epic stuff out there that can change the way things are. She lives and
schemes in West Palm Beach, FL. See her on Facebook, or contact her at:
mjaagerstoun@gmail.com
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