Reflections on Surrealism & Revolution

Throughout this course, I’ve gained an appreciation for and an awareness of the importance of the collective in artistic action. Mixed in with these observations, however, is the realization that academic communities are in a constant state of flux. Each year new friendships are strengthened, and then in the spring with graduation or fellowships, thoseContinue reading “Reflections on Surrealism & Revolution”

Rehearsing Revolution

In our first blog posts, we were asked to respond to the question “Can art be subversive? Can it have real political impact?” For me, the answer was always yes. But reading Yates McKee’s “Occupy and the End of Socially Engaged Art,” John Berger’s “The Nature of Mass Demonstrations,” and watching the documentary Ai Weiwei:Continue reading “Rehearsing Revolution”

Mapping the Lovers’ Derive

“I’m your audience, and you’re mine” (Bernstein 96). In All the King’s Horses, Michele Bernstein portrays an open marriage between Genevieve and Gilles. They meet a young woman, Carole, whom they are both attracted to, and Gilles enters into a relationship with her. The balance of power shifts when Gilles falls in love with Carole.Continue reading “Mapping the Lovers’ Derive”

Invitations and Infiltrations

In my research on Fluxus, I found that the movement had two main goals: (1) to challenge elite art institutions and to (2) meld art and life so that they are inseparable. In order to blur these boundaries, they experimented with form through “intermedia” – creating genres of art that crossed traditional categories, like visualContinue reading “Invitations and Infiltrations”

The Materials of the Situation

“The interest is not in consciousness and its freedom, but in the production of new situations as an end in themselves” (Wark 58). In The Beach Beneath the Street, McKenzie Wark introduces the many players in the Situationist movement through a historical derive. This form allows the reader to experience the feeling of being withinContinue reading “The Materials of the Situation”

Who Am I? Who Are We? What Are We?

“Towards the end of his life, Aimé Césaire has declared that the question he and his friend Léopold Sédar Senghor came to raise after they first met was: ‘Who am I? Who are we? What are we in this white world?’ And he commented: ‘That’s quite a problem” (Stanford Encyclopedia of Philosophy). Shifting from Breton’sContinue reading “Who Am I? Who Are We? What Are We?”

The Embodiment of Revolutionary Writing

We might have coupled In the bed-ridden monopoly of a moment Or broken flesh with one another At the profane communion table Where wine is spill’t on promiscuous lips We might have given birth to a butterfly With the daily-news Printed in blood on its wings — from Mina Loy’s “Songs to Joannes”, Part III