As Tate Modern receives droves of visitors to its Damien Hirst retrospective, the Occupy movement in London has labeled him a persona non grata in its Occupy Times of London paper, declaring him the artist who most defines the corrupt values of the financial world. Read More
Lee Mulcahy, an artist and the leader behind the Occupy Aspen movement, has been told by police that he can no longer set foot on the site of the future home of the redesigned Aspen Art Museum. Museum officials told the Aspen Times that Mr. Mulcahy had “replaced museum signs with his own signs,” posting “for sale” signs on trailers on the property. Read More
It was drizzling in Chelsea at 12:30 p.m. today, the time that the Arts & Labor working group within Occupy Wall Street, which recently issued a pamphlet outlining the state of labor in the art world, had planned to meet on the High Line for an organizational lunch and discussion. [The complete text of that pamphlet is available here.]
When we arrived at the planned meeting place, between 22nd and 23rd Street, Gallerist found only two people there, holding umbrelllas, but they quickly directed us south, to the covered section of the park that crosses 16th Street. Read More
Raise high your palette knives! Wave your unstretched canvas! Occupy Wall Street has hit the art world. In recent weeks, protestors have disrupted Sotheby’s auctions in solidarity with union art handlers who have been on strike for more than two months, read manifestos outside of art museums and temporarily occupied Artists Space, a nonprofit gallery in Soho. If you haven’t been following the minute-to-minute developments on Gallerist, here’s a recap of the Occupy actions. Read More
October 24, 9:00 AM: The group that occupied Artists Space on Saturday after noon, remaining until they were asked to leave yesterday evening, have issued a statement on their Tumblr blog, which provides some background on their action. It begins as follows:
“The occupation at 38 Greene Street ended at 8PM on Sunday October 23rd, 28 hours after it began.
“The administrators of the Artists Space, under the influence of their board of directors, brought in a paid private security force of five to affirm the sanctity of their non-profit private property.
“Earlier, the Executive Director and his minions (apparently ignorant of their own exploitation and unwilling to join in the occupation) had been rudely shoved aside by a fraction of the movement which attempts, in sometimes distorted ways, to develop a critique of the existent. Clinging to the veneer of legitimacy still provided, in some minds, by the non-profit industrial complex, he took advantage of the occupiers’ patience and tolerance to hinder, as best he could, any real flourishing of rebellion in the space he had formerly controlled.
“Threatening and reminding us of the illegal nature of the occupation and his power to bring down the NYPD on our heads, he belligerently intimidated while farcically insisting on his sympathy with the movement. If he did not immediately use police violence to evict the occupation, this was of course only because of his cowardly attachment to his so-called “radical” credentials, status and image.”