Far as I can tell . . .

this is factually accurate:

Political Art Month

From San Antonio artist, Gene Elder:

Due to the high survellance of Texas artists, Political Art Month has been cancelled. The revolution will not be televised.

It has come to our attention that "political art will not be tolerated in a free society."

All artists have been notified that their art making activities will be monitored. And any art that is upsetting to City Hall or the government of the United States will be shut down and the gallery will be told to close.

"Most artists are fine with this" says Beth Ann Forlet, "We have better things to do as artists than worry about what is going on in the world. San Antonio artists don't get involved in this nonsense. Crafts fairs are what we want, along with more fund raisers at Blue Star. I adore RED DOT. You get to meet people and the food is wonderful. Everyone has a good time. That is what an art community should be focused on. I like going to the McNay because it takes me away from thinking about war and Wall Street. Gene Elder and David Freeman are just wasting their time trying to get artists involved. I hope they have stopped with this silly idea that July should be concerned with political art. I hate when artists think they are important."

Shell Rig Malfunctions at Posh Party (the Yes Lab Strikes Again)

This was a send-off for Shell's arctic rigs at the Seattle Space Needle. The actual rigs were visible outside the window. Incredibly, there was a malfunction of the model rig that was supposed to pour drinks for guests.

Per HuffPo,

The device which sprayed Rainey's face was a model of Shell's drill rig, the Kulluk, which is set to soon depart Seattle for the Arctic. The Kulluk was built-in 1983 by Mitsui, the same company that, two decades later, built the ill-fated Deepwater Horizon. . . .

* * * * *
[T]he Yes Lab [also] sent out a press release on Shell's behalf, threatening [legal action against the activists and] attacking . . . the activists' brand-new ArcticReady.com website [, which looks like a Shell site, and] which includes a social media ad generator and a dangerously addictive children's video game called Angry Bergs. The fake Shell release generated additional media coverage.

Earlier this year, Shell obtained a legal injunction stopping any Greenpeace activist from coming within 1km of any Shell vessel. To thank the company, Greenpeace teamed up with the Yes Lab to plan a promotional advertising campaign for Shell's Arctic drilling efforts, which Shell prefers to keep quiet. Besides the ill-fated ceremony and the website, the campaign includes a number of other elements that will shadow Shell's summer Arctic destruction campaign.

(More at HuffPo and YouTube. For more Yes Men or Yes Lab actions, click on those labels below.)

The Yes Lab Strikes Again, in Dallas

Re- the Trans-Pacific Partnership "trade" agreement:



From the Yes Lab's press release:

DALLAS PARTY ENDS BADLY FOR U.S. TRADE REPS AND FEDERAL AGENTS
Dozens of rogue "delegates" disrupt Trans-Pacific Partnership gala with "award," "mic check," mass toilet paper replacement

* * * * *
Two dozen rogue "delegates" disrupted the corporate-sponsored welcome gala for the high-stakes Trans-Pacific Partnership (TPP) trade negotiations yesterday with a fake award ceremony and "mic check." Other activists, meanwhile, replaced hundreds of rolls of toilet paper (TP) throughout the conference venue with more informative versions, and projected a message on the venue's facade.

The first action began when a smartly-dressed man approached the podium immediately after the gala's keynote speech by Ron Kirk, U.S. Trade Representative and former mayor of Dallas. The man (local puppeteer David Goodwin) introduced himself as "Git Haversall," president of the "Texas Corporate Power Partnership," and announced he was giving Kirk and other U.S. trade negotiators the "2012 Corporate Power Tool Award," which "Haversall's" partner held aloft.

The crowd of negotiators and corporate representatives applauded, and "Haversall" continued: "I'd like to personally thank the negotiators for their relentless efforts. The TPP agreement is shaping up to be a fantastic way for us to maximize profits, regardless of what the public of this nation—or any other nation—thinks is right."

At that point, the host of the reception took the microphone back and announced that the evening's formal programming had concluded. But Mr. Haversall confidently re-took the microphone and warmly invited Kirk to accept the award.

Kirk moved towards the stage, but federal agents blocked his path to protect him from further embarrassment. At that point, a dozen well-dressed "delegates" (local activists, some from Occupy Dallas) broke into ecstatic dance and chanted "TPP! TPP! TPP!" for several minutes until Dallas police arrived.

Fifteen minutes later, another dozen interlopers from Occupy Dallas interrupted the reception with a spirited "mic-check." Outside, activists projected a message on the hotel, and throughout the night, delegates discovered that hundreds of rolls of custom toilet paper had been installed in the conference venue.

The activists disrupted the gala to protest the hijacking of trade negotiations by an extreme pro-corporate agenda. "The public and the media are locked out of these meetings," said Kristi Lara from Occupy Dallas, one of the infiltrators. "We can't let U.S. trade officials get away with secretly limiting Internet freedoms, restricting financial regulation, extending medicine patents, and giving corporations other a whole host of other powers allowing them to quash the rights of people and democracies, for example by offshoring jobs in ever new ways. Trade officials know the public won't stand for this, which is why they try to keep their work secret—and that's why we had to crash their party."

There is mounting criticism of the U.S. role in pushing the negotiations forward in secrecy, despite the public's overwhelming disagreement with TPP goals. ("Buy American" procurement preferences are supported by over 85% of Americans, but U.S. trade negotiators are preparing to accept a ban on such preferences. Two weeks ago, 69 members of Congress sent a letter to President Obama asking him not to accept that ban.)

Many are calling the Obama administration duplicitous: while the administration publicly hypes a plan to revitalize American manufacturing and create jobs in the U.S., U.S. trade officials push for new "investor rights" that would make it easier for American companies to lay off domestic workers and open plants overseas.

"The TPP has been branded as a trade 'negotiation' by its corporate proponents, but in reality it's a place for big business to get its way behind closed doors," said Pete Rokicki of Occupy Dallas. "This anti-democratic maneuver can be stopped if the public gets active—just look at the movement that killed the ill-advised SOPA (Stop Online Piracy Act) law a few months ago. That's why Obama's trade officials lock the public, the press and even members of Congress from the trade negotiation process."

"We're really happy to know that even in their most private moments, US trade reps are reminded that a vast majority of the public stands opposed to corporate-friendly, closed-door trade deals like the TPP," said Sean Dagohoy from the Yes Lab, who assisted in the actions.

Here's a summary of the provisions of the TPP; more at Public Citizen Global Trade Watch.

UPDATE: F.w.i.w., some people are starting to notice that maybe there's a problem with allowing 600 megacorps to write our treaties while everyone else including Congress is kept in the dark.

New Project

Provisionally called the OccuLibrary, instigated by me and Lizzy Wetzel.  Blog at OccuLibrary.blogspot.com.

OccuLibrary Project Debut Tonight

At the The Fallus Dart Air, 5 - 9PM, Shamrock Hotel
4312 Elm St., Dallas between Peak and Carroll (more details at the link): GlamROccuLibrarymentary Trailer Shoot 1 (2012), by me and Lizzy Wetzel, with performances by Sally Glass and George Quartz.

The Fallas Dart Air also includes works by Kristen Cochran, Lanie Delay, Vince Jones, Kirsten Macy, Margaret Meehan, Ludwig Schwarz, Marjorie Schwarz, Edward Setina, Lizzy Wetzel, Lily Hanson, Peter Ligon, Marianne Newsom, Brian Ryden, Noah Simblist, Sunny Sliger, and Saul Waranch.

New Museum Triennial: "The Ungovernables"

Exhibition website here; a very helpful NYT review here, with a slide show with some beautiful photos; my own photos here; and Art Fag City has a good slide show here.

Among the pieces I found exciting was a video by Wu Tsang, The Shape of a Right Statement (2008; still, right, from Clifton Benevento gallery). In it, Tsang re-speaks a text I found fascinating, from the second part of a video manifesto by autisim rights activist Amanda Baggs, embedded below. Thoughout the 5 min. run of Tsang's piece, he does not blink, a feat which, for me, greatly heightened the intensity of the work.

I saw this piece before encountering Tsang's other work, including Wildness in the Whitney Biennial. Various commentators have expressed concern w.r.t. many contemporary works that one needs a lot of info extraneous to the work itself in order to begin to appreciate it. While Tsang's work draws heavily from its sources and context, for me, it's a great example of a piece that was sufficiently arresting in its own right to make me go look for that info; and I'm glad I did.

Another of my favorites was The Propeller Group's project, TVC Communism (2011), from which two pieces were shown. First was a video installation comprising synchronized video on 5 large screens arranged in an inward-facing circle. Each screen showed one individual in a meeting in which the Propeller team collaborated to develop p.r. to re-brand Communism. Unfortunately, viewers seemed to enjoy being the apparent center of the virtual attention of the Propeller team so much that, while I was there, the area within the 5-screen circle was full of chatting museum-goers, making it impossible to hear the the audio "conversation" among the characters in the videos. The second piece shown from the project was the resulting commercial ad.

It's hard to resist comparing the Triennial and the Whitney Biennial. Perhaps the main observation yielded for me so far is that there was more socially- or politically-engaged work at the New Museum. Given how much of the most exciting art made during recent years has had overtly political concerns, the relative paucity of the political at the Whitney seems striking.

Below is Amanda Baggs' manifesto: