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A history of 1960s activist art group Black Mask. With Up Against
the Real, Nadja Millner-Larsen offers the first comprehensive study
of the group Black Mask and its acrimonious relationship to the New
York art world of the 1960s. Cited as pioneers of now-common
protest aesthetics, the group's members employed incendiary modes
of direct action against racism, colonialism, and the museum
system. They shut down the Museum of Modern Art, fired blanks
during a poetry reading, stormed the Pentagon in an antiwar
protest, sprayed cow's blood at the secretary of state, and dumped
garbage into the fountain at Lincoln Center. Black Mask published a
Dadaist broadside until 1968, when it changed its name to Up
Against the Wall Motherfucker (after line in a poem by Amiri
Baraka) and came to classify itself as "a street gang with
analysis." American activist Abbie Hoffman described the group as
"the middle-class nightmare . . . an anti-media phenomenon simply
because their name could not be printed." Up Against the Real
examines how and why the group ultimately rejected art in favor of
what its members deemed "real" political action. Exploring this
notorious example of cultural activism that rose from the ruins of
the avant-garde, Millner-Larsen makes a critical intervention in
our understanding of political art.
The conventional idea of the commons-a resource managed by the
community that uses it-might appear anachronistic as global
capitalism attempts to privatize and commodify social life. Against
these trends, contemporary queer energies have been directed toward
commons-forming initiatives from activist provision of social
services to the maintenance of networks around queer art, protest,
public sex, and bar cultures that sustain queer lives otherwise
marginalized by heteronormative society and mainstream LGBTQ
politics. This issue forges a connection between the common and the
queer, asking how the category "queer" might open up a discourse
that has emerged as one of the most important challenges to
contemporary neoliberalization at both the theoretical and
practical level. Contributors look to radical networks of care,
sex, and activism present within diverse queer communities
including HIV/AIDS organizing, the Wages for Housework movement,
New York's Clit Club community, and trans/queer collectives in San
Francisco. The issue also includes a dossier of shorter
contributions that offer speculative provocations about the
radicalism of queer commonality across time and space, from Gezi
Park uprisings in Turkey to future visions of collectivity outside
of the internet. Contributors Arlen Austin, Zach Blas, Gavin Butt,
Beth Capper, Ashon Crawley, Amalle Dublon, Macarena Gomez-Barris,
Christina Hanhardt, Diarmuid Hester, Nadja Millner-Larsen, Jose
Esteban Munoz, Cenk Ozbay, Evren Savci, Eric Stanley
A history of 1960s activist art group Black Mask. Â With Up
Against the Real, Nadja Millner-Larsen offers the first
comprehensive study of the group Black Mask and its acrimonious
relationship to the New York art world of the 1960s. Cited as
pioneers of now-common protest aesthetics, the group’s members
employed incendiary modes of direct action against racism,
colonialism, and the museum system. They shut down the Museum of
Modern Art, fired blanks during a poetry reading, stormed the
Pentagon in an antiwar protest, sprayed cow’s blood at the
secretary of state, and dumped garbage into the fountain at Lincoln
Center. Black Mask published a Dadaist broadside until 1968, when
it changed its name to Up Against the Wall Motherfucker (after line
in a poem by Amiri Baraka) and came to classify itself as “a
street gang with analysis.” American activist Abbie Hoffman
described the group as “the middle-class nightmare . . . an
anti-media phenomenon simply because their name could not be
printed.”  Up Against the Real examines how and why the
group ultimately rejected art in favor of what its members deemed
“real” political action. Exploring this notorious example of
cultural activism that rose from the ruins of the avant-garde,
Millner-Larsen makes a critical intervention in our understanding
of political art. Â Â
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