Savage Love is a syndicated sex-advice column by author and activist Dan Savage. It began in 1991 in the debut issue of the Seattle alternative weekly newspaper The Stranger, and is now featured in dozens of North American, European and Asian weeklies, including NYC’s The Village Voice, the San Francisco Weekly and Toronto’s NOW magazine. Perhaps best known for repurposing the name Santorum, the column features answers to readers’ letters on a wide-range of topics including pegging, rimming, cuckolding, saddlebacking, coming out to fundamentalist parents, debunking donkey punching, and finding out your elderly father is considering a mail-order bride.
Vancouver-based artist Liz Knox has scoured the comments sections of the online archives of Savage Love and lovingly compiled a new 245-page bookwork titled Commentariat.
The comment threads were first opened on the website of The Stranger in 2008, and Knox' book presents a representative sampling of eight years worth of activity, essentially providing a snapshot of the sexual politics of the era of the Obama administration.
"I selected one or two comments per weekly column," says Knox, "...more when there were controversies, elections, scandals, etc." The text weaves a compilation of comments relating to recent political events through personal anecdotes, topical news, exuberance, and outrage.
The work is the cornerstone of a new exhibition of the same name which opens tonight at Yactac, at 855 East Hastings. Accompanying pages of the book pinned to the wall is a series of new drawings - fictional portraits of some of the online contributors.
"I made line drawings based on friends' Facebook photos, choosing to draw the friends and colleagues who I would cast to play the commenters in the movie of the book (that I would never make)."
The work continues Knox' investigation into the intersection of romance and politics that also includes her 2012 bookwork Missed Connections. Missed Connections collects personal ads from Craigslist posted during or relating to the Occupy Wall Street movement.
Commentariat is available at the opening tonight, or from the artist directly, for $20, here.
Jeremy Deller The Battle of Orgreave (photo album)
London, UK: Artangel, 2001
4.75 x 7.125 x 0.25”
Edition of 150 signed and numbered copies
The last of the deep coal mining pits in the UK closed a little over a year ago, in December of 2015, with layoffs to 450 workers. In the first half of the 20th century there were over a thousand collieries in the country. By 1983, only 174 working pits remained.
In 1984, the Thatcher government announced plans to close an additional 20 collieries, with a loss of over 20,000 jobs. Many communities in Northern England, Scotland and Wales stood to lose their primary source of employment. This led to the largest strike in the country since the 1926 General Strike. At its peak, 142,000 mineworkers were involved.
On June 18th, police in riot gear clashed with picketing miners outside of a coking plant in the South Yorkshire village of Orgreave. Writing last year in the Guardian newspaper, historian Tristram Hunt described the confrontation as "almost medieval in its choreography... at various stages a siege, a battle, a chase, a rout and, finally, a brutal example of legalized state violence."
Accounts vary, but between six and nine thousand officers were deployed to respond to eight thousand picketers. Between forty and sixty of the officers were on horseback, and several thousand were in full riot gear. They were assisted by dozens of attack dogs. The mounted police charged against the picketing miners, striking them with batons and seriously injuring over a hundred participants.
Harry Paterson writes in Look Back in Anger; the Miners’ Strike in Nottingham (Five Leaves, 2014) that the picketers were "mercilessly battered by police officers in full riot-gear, flailing away indiscriminately with truncheons, while mounted officers charged fleeing bands of men, desperate to escape. On the miners’ side, barricades were erected and bricks and stones were hurled into the mêlée. A car from a nearby scrap-yard was dragged into the middle of the road and set alight and police pursued the miners into the nearby village, through gardens and houses, hammering down all they caught."
Television footage was edited to make it appear that the miners had instigated the police by throwing rocks, causing them to retaliate in self-defense. Not until 1991 did the British Broadcasting Corporation offer an apology for misleading the public about the event, by claiming that the footage had been “inadvertently reversed” and that the stone-throwing was actually a result of police aggression.
Paterson argues that that there is little doubt that the police action was "pre-planned, deliberate and sanctioned at the highest level of the South Yorkshire force." Barrister Michael Mansfield agrees: "They wanted to teach the miners a lesson – a big lesson, such that they wouldn't come out in force again."
Right-wing political activist and Margaret Thatcher’s favourite fixer David Hart confirmed as much in 1993: “It was a set-up by us on a battle ground of our choosing. The fact is that it was a set-up and it worked brilliantly.”
Calls for public inquiries into the handling of the police action have been routinely rejected, as recently as last year. Former editor of the conservative magazine the Spectator, Charles Moore celebrated the recent rejection as a victory, suggesting that any inquiry would be a "travesty", and a sure indication that we "would have entered the world according to [left-wing filmmaker] Ken Loach."
On June 17th, 2001, the battle that has been called "one of the most violent clashes in British industrial history" became the subject of a work by artist Jeremy Deller. Working with the events company EventPlan Ltd and a cast of almost a thousand, he staged a re-enactment of the action. Whereas most historical re-enactments favour deep history, such as the Civil War, or Medieval battles for cosplay enthusiasts, The Battle of Orgreave re-enacts something from living memory, only seventeen years prior.
Alongside over five hundred seasoned re-enactors, approximately 280 local residents took part in the performance, including many picketers and police officers who were involved in the original encounter. Deller reportedly arranged to have the officers portraying the miners and vice-versa.
The event became the subject of a Channel 4 documentary by Hollywood filmmaker Mike Figgis (Leaving Las Vegas, Timecode, etc). It is available on DVD from Cornerhouse publications here, and can be viewed on Youtube, here.
The above edition, valued at approximately £2500, consists of 19 chromogenic prints on Fujicolour Professional paper, housed in a plastic photo album and cardboard box with a rubber-stamped title. It periodically appears at Paddle8 charitable auctions.
"In 1998 I saw an advert for an open commission for Artangel. For years I had had this idea to re-enact this confrontation that I had witnessed as a young person on TV, of striking miners being chased up a hill and pursued through a village. It has since become an iconic image of the 1984 strike – having the quality of a war scene rather than a labour dispute. I received the commission, which I couldn't believe, because I actually didn't think it was possible to do this. After two years' research, the re-enactment finally happened, with about eight-hundred historical re-enactors and two-hundred former miners who had been part of the original conflict. Basically, I was asking the re-enactors to participate in the staging of a battle that occurred within living memory, alongside veterans of the campaign. I've always described it as digging up a corpse and giving it a proper post-mortem, or as a thousand-person crime re-enactment.”
Barbara Kruger Exhibition Purse
Washington, USA: National Gallery of Art, 2016
11.5 x 10"
Edition size unknown
Produced to accompany the exhibition In the Tower: Barbara Kruger (September 30, 2016, - January 22, 2017) this tote purse features Kruger's iconic text-based style with the phrase "Know nothing, Believe anything, Forget everything" on vivid red stripes.
"I'm still surprised that this exhibition made it into existence", Cary Leibowitz tells Artforum's Alex Jovanovich for this week's 500 Words. "The curator of the show, Anastasia James, is about the same age as some of my work!" Museum Show, which opened in January and continues at the Contemporary Jewish Museum in San Francisco until June 25th, is Leibowitz’s first-ever solo museum exhibition and midcareer survey. The show covers covers nearly thirty years of the artist’s output.
"Putting the show together was nerve-racking, but exciting. I was kind of happy with some of the older pieces. But there was another part of me that kept thinking, Oh my god, I barely changed in thirty years. Admittedly, I was embarrassed about looking at all my old work. I was also embarrassed at how badly I treated a lot of it. I had so much art shoved into the basement of my house from a million years ago. Then all of a sudden, when I needed to excavate and get it all out of there, it’s moldy and crapped-up. I was like, “Oh well, I guess this thing and that thing are going into the garbage.” Thankfully I didn’t need to get anything fixed or cleaned up—I make multiples and often have massive quantities of a single piece."
The 74th in the series of Hundertmark "Kartons", Bleistiftmusik (or Pencil Music) consists of a boxed audio cassette (both sides untitled), twenty slides and a text. A special edition of 16 copies was also available, which was accompanied by an original drawing.
Barbara Bloom Weimar. Vergangenheit,...,Zukunft und jetzt?
Weimar, Germany: Stadt Weimar, 1996
21 x 16 x 4 cm
Edition size unknown
Weimar. Past…Future. And now? is a book-like box of chocolates featuring motifs of the German city of Weimar. They were initially sold in tourist shops for the improbable price of 20 DM. Inside of each wrapped chocolate is a strip of paper with information and images.
[Gustav Metzger] Gustav Metzger: Act or Perish! – A Retrospective
Rome, Italy: NERO, 2016
220 pp., 22 x 30 cm., hardcover
Edition of 1000
“[Gustav] Metzger had a profound effect on me. I was doing my first gig with The Who. I took it as an excuse to smash my new Rickenbacker… I really believed it was my responsibility to start a rock band that would only last three months, an Auto-destructive rock group. The Who would have been the first punk band, except that we had a hit.”
- Pete Townshend, 2000
Accounts differ, and some cite the above quote as convenient high-brow rock revisionism: that Townshend was merely frustrated by the poor sound quality at the venue and destroyed the instrument out of rage, or that he accidentally hit a low-hanging lightbulb while swinging his guitar in the air, and continued with its destruction when the act was met with applause. Either way, the smashing of his guitar became a mainstay of Who performances for years.
The guitarist met Metzger - whose death was announced earlier today - when he was a student at Ealing Art College and later attended the infamous Destruction in Art Symposium that Metzger hosted in 1966. The three-day event brought together Fluxus artists and members of the Viennese Actionists, and featured tortured books, melted canvases, punctured pianos, slaughtered sheep, Yoko Ono’s Cut Piece, Otto Muhl, Hermann Nitsch (whose involvement cost the organizers a £100 fine) and many others.
I was trying to research this event with little luck last spring (there wasn’t much information available online) when the above book arrived in the mail from Nero, impeccably timed. The title is the catalogue of the first extensive overview of Metzger’s work, which was organized in 2015-2016 at the Centre of Contemporary Art in Torun and Kunsthall Oslo and Stiftelsen Kunstnernes Hus in Oslo.
Metzger was born to Polish-Jewish parents in Nuremberg, in 1926. He and his brother were relocated to the United Kingdom in 1939, as part of the Kindertransport ("children's transport”) rescue efforts that saw Britain take in nearly 10,000 predominantly Jewish children from Germany, Austria, Czechoslovakia, and Poland. His parents and much of his immediate family were murdered in the Holocaust.
Metzger studied art at Sir John Cass Institute in Aldgate East from 1945 to 1948, and later - with a grant from the UK Jewish community - at the Royal Academy of Fine Arts in Antwerp (1948–49).
His childhood experiences as a refugee fleeing Nazi Germany influenced much of his work in later life, which explored society's will to destruct. "Facing up to the Nazis and the powers of the Nazi state coloured my life as an artist," he says.
Metzger launched the “auto-destructive art movement” with a 1959 manifesto, in protest of rising consumerism, the proliferation of capitalism, and Atomic physics, which he called “the worst thing that happened in the 20th century.”
He conceived of the movement as "a slow time bomb [...] a desperate, last-minute, subversive political weapon [...] an attack on the capitalist system and an attack also on art dealers and collectors who manipulate modern art for profit”. The central idea of the DIAS was to “isolate the element of destruction of new art forms, and to discover and links with destruction in society”.
Act or Perish! presents Metzger as both an artist and activist and includes the following essays: "Gustav Metzger's Path from Art and Activism to Activist Art" by Pontus Kyander, "Painting and Auto-Destructive Art: For Other People" by Andrew Wilson, "Creation/Destruction, An Art In Constant Becoming" by Mathieu Copeland and Leanne Dmyterko's "Kneeling Down in Front of History". A short selection of Metzger’s own writings from 1966, '70, '71, '72, '74, '92, '98 and 2010 are also included.
The monograph also features interviews by curator Dobrila Denegri with Metzger's contemporaries, such as Yoko Ono, Hermann Nitsch, Ivor Davies and Jon Hendricks, as well as a conversation between Metzger and Hans Ulrich Obrist.
Metzger died at his home in London today, at the age of 90. Read Adrian Searle's obituary in the Guardian, here.
Act or Perish! is available from the publisher, here.