Among the thoughts of Occuprint designers, Julie Gueraseva writes, a few stand out: “This poster must be of tremendous urgency and relevance; it must agitate and disturb; it must stop you dead in your tracks; it must enlighten and inspire you to act. This poster must be so compelling that distributing it becomes essential. This poster requires courage.”
Socialist acrobatics channel class dynamics in Robby Herbst’s “New Pyramids for the Capitalist System” at Dumbo Arts Center. On display are two shows, one of his grandfather’s collection of beach and socialist acrobat photos, and the other is Herbst’s own work, including large-scale drawings, installations, and performances of human pyramids done collaboratively with Occupy LA.
Part of the ideals of independent and DIY culture is both access to the tools/means of production and to free spaces for creativity and communication. Are these corporate ventures really giving us a gift? Or are these poison gifts—and at what cost and to whom—since we know corporations main goals are their bottom lines?
One of the biggest critiques being made of the Occupy movement is that it has no demands. If, however, we take the standpoint that Occupy functions in an interventionist mode—if we see it as an Occupy moment rather than an Occupy movement–we see that its refusal to issue demands is part of the beauty of it.
#OccupyWallStreet is an ever-changing cultural expression, cycling through memes and overlapping fights against various injustices. Throughout, cultural producers have sought ways to turn this moment into a movement.