USSSA and Engaging the Public During the Presidential Election

Recently, I was invited to document and join a group of artists who are planning an exhibition with a series of multi-city art rallies, which are anchored by a collective engagement with America's ongoing Presidential Election process. The USSSA project is curated by m. ryan noble a.k.a. imagici. noble’s previous efforts culminated in a collective effort called FLAG STOP. Dedicated to the ideals of democracy and self-expression, the USSSA project aims to finding a meeting space for these two endeavors, which are the primary agendas for all candidates involved.  

The collective's approach to art and its role in society was largely shaped by performance artists such as Linda Montano, Sharon Hayes, and Marina Abramović.  

For instance, Marina’s 2010 retrospective at the MoMA The Artist is Present could be understood as the act of stripping the to its core elements -- perception, (self) identification, and, hopefully, a subsequent understanding. To really look at a subject is to really try to understand it, and this has largely informed noble’s approach to art and its role in society.

Where does art fit in?  Just think about how Romney's weakness tends to be his lack of sensitivity about the working-class conditions in the United States or even Santorum's misguided and overtly misogynist advice about "friends" not letting friends "use pink balls." Video played a large role in how that information became public knowledge. In short, thank goodness that there are politically engaged individuals and groups out there that don't let these missteps go unnoticed. We can all agree that these are not the appropriate messages for the nation to obey.  

Much of this commentary is made possible by art and media -- YouTube, the news, and even performance art!  It's important to note that all of the aforementioned resources are highly collaborative mediums, which rely greatly upon its audience.  And this is where USSSA aims to be more far-reaching in carrying its message that there is much more to be spoken by the (potentially voting) public. San Francisco was the site of the first meeting, and Los Angeles, New York, and Chicago are under consideration for future rallies. The meetings are free and open to the public, too! 

As we move forward in the election process, and learn more about the current state of democracy, these artists will convene in an effort to create an additional layer -- a discussion in tandem with what’s been made public. In essence, there is plenty of room to document and express more private concerns that seep through political debates, publicity, and legislation. noble suggests that, more often than not, the common reaction to the often-frustratingly generalized language used during the presidential election season can lead many to feel a sense of invisibility or hopelessness. As noble states, it can make many of us perceive "social reality as an illness—pervasive, contagious and stigmatized."  

As mentioned, in order to successfully engage with a subject, perception must be followed by the act of identifying with it (in some form) and understanding it on our own terms. With that said, the artists aim to provide this dialogue and invite the public to make this happen.  The project includes several visual and performance artists, including Wafaa Bilal, Barbara Horiuchi, Sarah Sense, Christy Speakman, and Dread Scott.  For a complete list of participating artists, see the USSSA: Phase 1 fundraiser page.

Dread Scott.  Imagine a World Without America.  Screen print on canvas. 

If you'd like to support this project, please donate.  Each phase of this project depends upon active participation in the spirit of democracy!

Mad Women: Not So Bad, Really

Does anyone remember the moment in Mad Men when Peggy encountered a beatnik/artist type named Abe, and it seemed that she had met an intellectual match?  Do we also remember the disheartening moment when enlightened Abe balked at Peggy's feminist approach to their well-intentioned discussion about civil rights? "Who needs to champion womens' rights in this day and age?" he argued.

This episode evoked a generally familiar dilemma--how do we voice our expectations and disappointments without it becoming a point of contention about who really needs attention? One of the worst aspects of this attitude is that it tends to position various social groups against each other. (In Mad Men, Abe was arguing for African-American rights while dismissing womens' rights).

It's enough to make you mad.  But is anger the worst thing to feel in the face of such blunt ignorance? No! It actually can lead to bright, satirical, and pleasant illustrations about experiences that aren't easily represented nowadays. The intersection of race and gender identities is engrossing for its constant tendency to be so narrowly understood yet increasingly visible and inspiring.

Reclaiming (Her)Story: Drawing Strength from the Past

Contralto singer Mabel Ritchardson in San Francisco, circa late 1930s.

For the past two years, I have been researching the history of my family. I have spent hours rummaging through old photographs and documents, constructing family trees, and scouring the internet for information about my ancestors. What an incredible journey it has been! The more I learn about my family's past, the more I long to know. The stories of the women in my family are particularly compelling. I am fascinated by the story of my great-grandmother, Mabel Ritchardson, who was a noted contralto singer in San Francisco during the 1930's. She performed pieces by Bach and Brahms, as well as spirituals, all while raising her six children in the city's Western Addition neighborhood.

A review of Ritchardson's performance in The San Francisco Spokesman reads, "Mrs. Ritchardson scored another triumph in her career when she was presented in an intimate musicale, by a group of artists at the fashionable Fairmont Hotel on Nob Hill. Mrs. Ritchardson, the only colored on the program was introduced as a cultural leader of her race. The audience was spell-bound while she sang "Come Let Us All This Day" by Bach. For encore she sang "Vittoria Mio Core" by Carissima in Italian. She appeared later on the program with a group of Negro spirituals which were enthusiastically received."

I found this review of her work, along with programs, letters, and photos Mabel saved from her singing career. I was inspired by her dedicated pursuance of her craft, especially since this was an era where a woman's "place" was considered to be in the home. In spite of the obstacles facing all women, and especially Black women, she made her dreams a reality.

1000 WORDS: Secret Garden

A women tends to the Victory Garden in San Francisco, from Anne Hamersky's series for Picturing Power & Potential, "Cultivating Change."