Fleece the Fascist // beautiful low poly Trump donated by @denysalmaral www.denys.es

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Brooklyn-based artist and activist Grayson Earle talks about:

His unplanned landing in Brooklyn, where he couch-surfed into a commune-style house, and where he’s remained since moving to NY from California in 2010; his fluid relationship with the identity of “artist,” ultimately one he embraces because it affords him more opportunities that if he took on the identity of “activist;” his experiences with artist collection The Illuminator, including getting arrested while projecting provocative phrases challenging donor Charles Koch  onto The Metropolitan Museum; his admiration for open source programmers, and the process of sharing software and information, and the choice, in his words, of being an artist who either influences culture or makes saleable art objects; his experience being onsite at the start of Occupy Wall Street, and his role procuring food for that first generation occupiers (including vegan pizza); interacting with the problem of where our tax payments go through his project Tax Deductible Expenses, which features Earle eating and/or drinking in a series of YouTube videos, with the receipt for his goods posted alongside; and his Illuminator projection of a holographic bust of Edward Snowden, in place where an anonymously placed actual bust was placed in Fort Greene Park, in turn making it an odd completion of the original piece (they wound up meeting the pair behind the bust of Snowden, which is now available as a file for 3D printing).

Watch Out or Don't #surprise #video #videoart #videogame #politics #trump

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In Part I of II, Nato Thompson, Creative Time artistic director, and author of Seeing Power: Art and Activism in the 21st Century, talks about:

when he became “radicalized,” on two occasions:  one being the alt globalization movement that began during the WTO protests in Seattle in November, 1999, and the other living in a collective/cooperative in Berkeley, which enlightened him to self-empowerment, an entirely different way of living; taking the Creative Time Summit to the Venice Biennale, which Democracy Now’s Amy Goodman came along to cover, where she was able to interview artists Emily Jacir and Mariam Ghani, an example of Nato connecting the ‘activist left’ with the ‘art left’ (far left-wing artists); the realities of social and cultural capital, as far as how it’s gained (being with the right people, telling the right jokes, dropping respected names, etc.) and how by calling it out, as he does in the book, it has to be addressed as opposed to just taken for granted; how he grew up broke and always had anxiety about rich people and these New York City kids who went to fancy private schools and how it’s taken time to work through that anxiety, which to some extent is still there; how those living in a social bubble (the bubble of rich people) lack perspective on much of what’s going on with people around them; how board members of museums tend towards supporting work that has an air of glamor, as opposed to activist-based, the latter which you wouldn’t see at Miami Basel; the influence of former director and creator of Creative Time Anne Pasternak, who set up a system that allows for a flexible board with more open-mindedness toward selections; how certain think tanks, which rely on public perception, and which claim objectivity but are really just covert lobbying arms, are vulnerable to attack (especially ones without plans of defense) my outside forces in challenging that ultimate lack of objectivity; the critical left community of the art world, which both tends to hate the art world and yet knows how to navigate power well enough to get into important exhibitions (Documenta, etc.); how great it is that pluralism is reaching a critical mass, thus diluting the contemporary canon in the process; “if what makes things historically relevant has something to do with where the conversation is at, then the art market is a gigantic bubble”; the impact of social media (Instagram) in terms of becoming prominent new sources; and the events on the docket for this year’s Creative Time Summit coming up in October in Washington, D.C.