The Total Art of Neoliberalism

This video was presented as part of the Red Wedge stream of panels at the Historical Materialism conference in London last November. Its author, Red Wedge editor Adam Turl, was unable to attend as he got sick at the last minute, but the video was well received. It is based on Turl’s article, “The Work of Art in the Age of Digital Reproduction” in Red Wedge #6, “In Defense of Transgression.” That article begins as follows:

Social media asserts a massive multi-subjectivity. This is a conundrum for those who aimed to speak to/on behalf of the masses (for good or ill). It is a disaster for those who thought that without overdetermined capitalist media the masses would embrace their own emancipation, beauty and pathos.

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The Barista Who Could See the Future

This video is part of Adam Turl's installation, The Barista Who Could See the Future, on display as part of the Exposure 19: Jumbled Time exhibition at Gallery 210 in St. Louis through December 2, 2017 (also featuring artists Lizzy Martinez and Stan Chisholm). The installation and short video “documentary” above center around the story of Alex Pullman – a coffee shop worker and artist who claimed he had visions of the future. A zine accompanying the installation, supposedly written by Pullman, reads as follows.

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Red Wedge Goes Quarterly with "Return of the Crowd"

Red Wedge is now taking orders for our third issue "Return of the Crowd." Get a copy on wedge shop  or subscribe. We are also strongly encouraging all supporters to become part of our patron program through Patreon.

As the above video details, we are hoping for issue three to be a big step forward for a publication that deserves to play a role in building the kind of imaginative and militant left we so sorely need. As with any radical project, it doesn't happen without support. Lend us some and we will do our best to return the favor in the form of a fantastic magazine and website.

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Johnny Got His Gun

The success of the film Trumbo – starring Bryan Cranston as the titular blacklisted screenwriter and Communist Party member – has come at an interesting time in the American cultural landscape. Discussion of socialism is now commonplace. As is free and open discussion of stripping people of their civil rights because of what their beliefs may or may not be. As a gauge of how important it might be, the film has gladly pissed off the right people.

Filmmaking is a fickle art-form; it is of course impossible to cram every single element of a person’s life into a biopic. Nonetheless, that the film doesn’t mention in any way Dalton Trumbo’s masterpiece novel Johnny Got His Gun is frustrating for those familiar with his work. Telling the story of a young soldier fighting in World War I who, caught in an explosion, loses both arms and both legs as well as his sight, hearing and...

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