What Do We Do Now?
Arts & Labor's Alternative Economies Resource Guide
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This list has been compiled collaboratively by members of the OWS Arts & Labor Alternative Economies group to increase the visibility of an access to existing cooperatively-owned resources and alternative networks available to our community.
This is a living document. Print version will be updated every 6 months. To submit updates, please e-mail owsartsandlabor@gmail.com
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Members of the OWS Arts & Labor Alternative Economies Group
RECOMMENDED ARTICLES
Moving Towards Community Benefit: Shifting the Paradigm
by Roberta UnoOCT 2017 | Art
Across America, more people in the cultural community are coming to understand why racial justice and equity matter. Of course, this is not a new issue for many; but the current “woke” moment catalyzed by the daily assaults on democracy—and the prospect of catastrophic consequences beyond four years of a Trump presidency—make it impossible for all but the most insular to remain complacent. Last week in Los Angeles, a group of Latina women arts leaders spoke with me about the handful of Latino arts institutions that are more than four decades old.
YARITJI YOUNG + TJALA ARTS: APY LANDS
by Jonathan GoodmanAPR 2019 | ArtSeen
This group show features the work of women indigenous artists who belong to the artistic collective Tjala Arts, located in south Australia in Anangu Pitjantjatjara Yankunytjatjara, the full name of the acronym “APY” used in the title of the exhibition.
Some Reflections on Prison Labor
by Ruth Wilson Gilmore and James KilgoreJUNE 2019 | Field Notes
Ruth Wilson Gilmore: A popular notion in some progressive circles holds that US prisons are a chain of sweatshops and plantations where hundreds of thousands of incarcerated people labor under excruciating conditions to generate profits for transnational companies. Can you shed light on this view?
Artschwager’s Interest in Arthur Wesley Dow and ‘Arts and Crafts’ c.1900: A Documentation
by Joseph MasheckJUNE 2018 | In Memoriam
I have long admired Richard’s furniture sculptures as way smarter than they look. That is only possible if a work of art carries some implicit intellectual baggage; and it turns out that a vital basis of many of the furniture works concerns Artschwager’s interest in the early modernism of the American Arts and Crafts movement.
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