A World In Flames: Orlando

The painting is of Jesus Christ on the cross. It’s very apparent, but also quite jarring in its differences from the iconography of European Christianity in the 20th century. Marc Chagall, the Jewish painter, deliberately estranged and defamiliarized the painting’s subject. The cross on which he is crucified does not have a top and is shaped more like a “T” (as some scholars say many crucifixes were). Christ himself is wrapped in a Jewish prayer shawl. This is not Jesus as Christian messiah we are seeing suffer, but Jesus as Jew.

White Crucifixion was painted by Chagall in 1938. Kristallnacht, the anti-Jewish pogrom that was officially sanctioned by Nazi minister Joseph Goebbels, had taken place just prior to his starting the painting. It was a plea for the world to acknowledge and pay attention to what was being done to Europe’s Jews at the time. 

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Graphics Of the Women's Revolution

The Chicago Women's Graphics Collective, much like the Chicago Women's Liberation Union and its Rock Band, is one of those neglected facets of the feminist movement in the 1970's. That is beginning to change with the release of films like She's Beautiful When She's Angry, as well as a broader interest being shown by a younger generation of feminists in their roots and history. The Graphics Collective created stunning work, some of which has found itself into the most well known iconographic annals of "the Long Sixties," even if its creators are far too infrequently acknowledged.

The text below is from Estelle Carol, a founding member of the CWGC. Still a feminist and socialist, she is now one half of the political cartoon duo Carol-Simpson, as well as a web designer in suburban Chicago. She also helps maintain the CWLU Herstory Project.

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An Announcement From Red Wedge

Red Wedge was founded in the wake of Occupy Wall Street and the Arab Spring. Despite any number of heroic struggles, most notably (in the U.S.) Black Lives Matter (BLM), things are far grimmer today. The weakness of the workers’ movement the radical left is mirrored in the weakness of the artistic and cultural avant-garde. This two-sided problem, of course, has a major impact on Red Wedge, rooted in our belief both in the independence of art and the possibility of a revolutionary socialist project.

A defeated and marginalized left bears little fruit. A false dichotomy between theory and activism pervades the left. There are the academics who look down on concrete activism. Then there are the oddly anti-intellectual activists who have internalized diminished horizons. The latter are those who might say the “workers don’t want to read/think/look” at that...

 

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