Red Mars: Seeing the Future

May 26, 2016 Adam Turl

The following video interview with artist and Red Wedge editor Adam Turl was conducted by the art critic DIckson Beall for the Saint Louisan:

The artist’s narrative conceptual “Red Mars” is a mixed-media installation of acrylic, coffee, meteorite dust, glitter, stickers, wheat paste on canvas, a telescope, LED sign and booklets. His fictional artist/character views the future of a colonized Mars through a backyard telescope. This character views freedom from a very different perspective, as he creates art and invents “Stories” that confront injustice and consumerism.

Art Against Global Apartheid

May 23, 2016 The Editors

The sign, homemade, carried by a protester, reads “Ferguson to Gaza, Intifada, Intifada.” The slogan is more than a sentiment, more than a simple but powerful statement of solidarity. It is all of these things, but much more too. It is an explicit recognition of the world’s reality, far beyond Ferguson or Gaza.

"Apartheid" in today's world does not describe just a particular legal circumstance in this or that corner of the globe. It is, in varied and intricate ways, a fact of daily life under neoliberalism. Global capital communicates to us in any political, economic or aesthetic language it can muster: "This world is not yours, and you do not belong here."

Long Live Satie!

May 18, 2016 Alexander Billet

There are a great many fun and entertaining ways one could celebrate the 150th birthday of Erik Satie. The Velvet Gentleman seems to cast such an omniscient shadow over modern music that he is almost invisible. This of course isn’t the only paradox he represented. Though Satie was indeed a unique eccentric who sought to explode musical convention, his philosophies resonate in even those most traditional, straight-laced and boring of today’s composers. In fact it is not far-fetched to say that his music is so universal in western composition that we often don’t even consciously identify it as his. Satie’s iconic Gymnopedie No. 1 was, after all, and in very stark contrast to his unorthodox predilections, used as a background lullaby in a BMW commercial.

Detours on the Way to Nothing

May 12, 2016 Rachel Swirsky

It's midnight when you and your girlfriend, Elka, have your first fight since you moved in together. Words wound, tears flow, doors slam. You storm out of the apartment, not caring where you go as long as it’s far away from her. When you step off the front stoop onto the sidewalk, that's the moment when the newest version of me is born.

You get on the subway heading toward Brooklyn and ride until the train rumbles out of the tunnels and squeaks into a familiar above ground stop. The neighborhood isn't good, but a friend of yours used to live a few blocks away, so you know the area pretty well. At least you won't get lost while you work off the rest of your anger. You disembark, let your feet pick a direction, and start walking.

The Art of Primitive Communism

May 9, 2016 Adam Turl

One of the problems of the weak avant-garde is in its tendency to reject the spiritual and existential origins of art itself. This dynamic can be found both among would-be “art entrepreneurs” and among progressive artists (who wrongly believe their role is to demystify art and all that surrounds it). Both, in the end, are the Thomas Gradgrinds of contemporary art.

The Austrian art critic and Marxist Ernst Fischer, building on Frederick Engels’ “The Role of Labor in the Transition from Ape to Man,” invoked art’s pre-history in his 1959 book, The Necessity of Art. Largely a polemic against the cultural policies of “communist” Eastern Europe, Fischer attempted to describe how the origins of art were “magic” – the product of a great leap forward in human consciousness. The mastery of tools produced in humans a social knowledge – the abstraction and generalization of the world.

Your Lunacy Fits Nicely With My Own

May 5, 2016 Neil Rogall

Robert Wyatt, now in his 70s, is surely one of the most intriguing, distinctive and sometimes infuriating musicians born out of 1960s Britain. His musical output has been intermittent, not surprising for someone suffering depression throughout his life, as well as the consequences of an accident in 1973 that left him permanently paralyzed from the waist down. Yet his recorded output contains many wonders. The surrealist psychedelia of the early Soft Machine and Matching Mole, the intensely personal bittersweet Rock Bottom, the series of Rough Trade singles which include his forlorn interpretation of Chic’s “At Last I am Free”, his version of Elvis Costello and Clive Langer’s anti-war “Shipbuilding” about the Falklands War as well as an eclectic series of collaborations with musicians such as Bjork, the Raincoats, Carla Bley and Brian Eno.

Prince and Politics In Reagan's America

April 22, 2016 Jordy Cummings

The inner sleeve to Prince's Controversy, 1982 — The inner sleeve to Prince's *Controversy*, 1982

In the face of profound social, political and economic tragedy, it has often been the case that popular musicians, out of a sense of solidarity, put out a song to capture the moment and inspire the movement. It is often the case, by virtue of historic specificity, that these songs don’t date well, their universality caught in the particularity of a given moment. There are a few songs, however, that have outlasted their origins and continue to resonate. Neil Young’s “Ohio,” Bruce Springsteen’s “American Skin (41 Shots)” and, most recently, in the face of the spate of police murder of Black youth, and in solidarity with the Black Lives Matter movement, Prince’s “Baltimore.”

Reminiscent of mid-period Prince and the Revolution, it combines a funkish shuffle in a minor key with vaguely country/western sounding acoustic and electric guitars. The lyrics, while angry, are more sad and resigned than anything else...

The Muck

April 20, 2016 Margaret Corvid

I came upon a stinking field of muck
and saw, within its depths, a golden cup.
Nothing for it. I hitched my trousers up
and waded in, heartsick when my feet stuck.

It took three hours for me to pull them out.
By then I'd learned to coast upon the slime.

The Democratic Image

April 19, 2016 Adam Turl

Adam Turl. Red Mars (2016) — Adam Turl. *Red Mars* (2016)

The strong images of the dominant culture offer no way out for the proletarian subject. Likewise the weak images of much of the academic avant-garde offer very little. The solution, for the class-conscious artist, is to connect weakened art and a weakened working-class to universal and totalizing aspirations. In my opinion the strong-weak image is the mode of the popular avant-garde. And historically it has come from outside the art world as often as within it – and sometimes both, in the work of the Wild-Style graffiti innovators of the 1970s and the punk rock DIY posters and zines of the 1970s and 1980s. Raymond Pettibon, highly influenced by William Blake and Goya, was central to the early punk visual aesthetic, producing art for his brother’s band, Black Flag. The tension between “weak” and “strong” inherent to his work was summarized by Pettibon himself when he argued, “I am really asking is for you to look at Gumby with the same kind of respect that you would if it was some historical figure or Greek statue.”

A Response

April 17, 2016 The Editors

It is sad to see Brit Schulte – a founding editor – part ways with Red Wedge. If there is one constant, however, it is change. Over the past year there have been an increasing number of challenges in maintaining Red Wedge as we had been previously organized – especially as a few editors, including Brit, have been finishing up graduate degrees. More importantly, our ideas evolved in different directions. While we are sad to see Brit go, an open discussion is preferable to papering over differences. There will, we hope, be further opportunities to collaborate – and they will be more productive if we all know exactly where we stand.

A Resignation

April 17, 2016 Brit Schulte

I was frustrated. Like I oft am, I admit. None of the contributions from the conference floor seemed to carry with them a nuanced understanding of aesthetic criticism, of art, of culture (let alone how Marxists or more broadly how the Left could participate in these things). I wasn't alone: there existed a small, equally frustrated community, with an even larger periphery of curiosity and cultural interest.

We endeavored to establish a dialogue, debate, body of writing and eventually a performance circuit that saw itself in the many traditions of: surrealism, constructivism, Marxist cultural criticism, DAdA, the propaganda of Bolshevism, the W.P.A. art campaigns,

Manifesto of the Paris Commune's Federation of Artists

April 15, 2016 Federation of Artists

The Paris Commune was in essence the first large scale experiment in socialist governance. On March 18th of 1871, radical workers and artisans organized in the National Guard decisively took control of the city as the regular French army fled. Days later, the Commune was elected, immediately declaring that workers could take over and run workshops and businesses, as well as abolishing the death penalty and military conscription, mandating the separation of church and state, and the beginnings of a social safety net and pensions. Both revolutionary and democratic, every day saw new ways of running the city advanced by ordinary laborers.

The Cultural Economy of Star Wars

April 14, 2016 Jase Short

Star Wars stands out as perhaps the most popular franchise in the history of science fiction and fantasy. George Lucas' original trilogy did what even Stanley Kubrick's 2001 failed to accomplish: it made Hollywood executives look to speculative fiction as a genre worthy of investment and promotion.

One can easily date the origin of Hollywood's current reliance on the genre for the profitability of the industry itself to the original film. With the rebirth of the franchise at the hands of director J.J. Abrams the cycle has come full circle. Abrams’ The Force Awakens is a direct homage to the original film, boasting an almost identical narrative structure keeping with the saga's “rhyming” tendency.

Kantnerculture: Tribute to Paul Kantner

April 11, 2016 Toby Manning

Paul Kantner was not the leader of Jefferson Airplane, the sixties band that came to epitomize the counterculture. Leadership rotated, original leader Marty Balin once joked, to whichever member was currently involved with Grace Slick. Neither was Kantner Jefferson Airplane or 70s Jefferson Starship’s lead vocalist, being only one of four singers, his warm, understated vocals often eclipsed by Slick and Balin’s more attention-grabbing turns. Nor was Kantner his bands’ primary songwriter – one of the Airplane’s four primary songwriters, he was just one hand on the Jefferson Starship overcrowded deck. All this is not however to bury Kantner – that occurred, literally, in January 2016, at age 74 – it is absolutely to praise him. Indeed to praise him in the most comradely fashion: as a key component in a countercultural collective, the very antithesis of the individualist diva.

Robots and Revolution

April 7, 2016 Alakananda Mookerjee

Photoshopped reimagining of the Russian Revolution... with robots leading the way — Photoshopped reimagining of the Russian Revolution... with robots leading the way

The robots have arrived – sort of. It’s only a matter of where one looks. If one were paying attention to the Oscars this year, it would have been hard to miss the most famous robot trio of all time as they arrived on the opulent stage of the Dolby Theater. Ahead strutted in the pleasingly neurotic, bronze figure of the linguist, C-3PO, with his short, stout, and sassy mechanic mate R2-D2 close behind, and bringing up the rear the white-orange ball of a droid named BB-8, who made its debut in Star Wars: The Force Awakens, released this past December. When R2-D2 beeps that C-3PO forgot the tickets to the ceremony, the latter retorts: “The ticket was your job, nitwit.” When told that he looked somewhat like the Oscar statue behind them, C-3PO declared that it looked like him. “How do you think we made it this far?”

Against the Weak Avant-Garde

April 5, 2016 Adam Turl

Robert Rauchenberg's White Paintings — Robert Rauchenberg's *White Paintings*

We have reached the Hegelian endgame; the fusion of art and philosophy. Not quite, as Arthur Danto notes, a negation of art by philosophy but the fusion of both. The art object has become, it is claimed, a philosophical argument in itself. But it is a pyrrhic victory – a Twilight Zone ending for art history, modernism and the avant-garde.

Anything can be made into art. But there is a small army of theorists dedicated to parsing out what is and isn’t art. Anyone can be an artist – if they aren’t too attached to the idea of eating dinner. Art and philosophy have fused but in the absence of the social revolution that was meant to accompany that fusion. The result is a philosophical-art object that is profoundly weak. If the present model of serious contemporary art is a weak avant-garde, the solution is a popular avant-garde: a rapprochement between artistic experimentation (as art) and mass emancipatory politics.

Red Wedge No. 2: Have You Pre-Ordered Yet?

April 3, 2016 The Editors

This is the newly-designed cover for Red Wedge No. 2, “Art Against Global Apartheid.” We are incredibly excited to send it and the rest of the issue to the printers – which we’ll be doing in a matter of weeks now.

A roundtable with Robin D.G. Kelley, Walidah Imarisha and Jonathan Horstmann from BLXPLTN; essays on the meaning of art and interracial solidarity; poetry from Prerna Bakshi, Anthony Squiers and Demetrius Noble that runs the gamut from the humorous to the heartbroken and outraged to the ethereal and mysterious; a look at what a recently founded collective of anti-capitalist artists is up to. This is material worth getting excited over.

Art for the April 1st Strike

April 1, 2016 Ilene Berman, Mike Farris, Hope Asya, For the People Artists Collective, Craig E. Ross, and Adam Turl

The Chicago Teachers Union (CTU) is leading a one-day strike on April 1st. In Illinois, leaders of both political parties have orchestrated an artificial budget crisis. Under the pretext of this false scarcity of resources people like Chicago Mayor Rahm Emanuel and Illinois Governor Bruce Rauner are firing teachers, closing schools, and wreaking havoc on public education.

Something particularly notable out this strike is that it is not just the CTU out there today. The strike is being billed as a call to action for entire city. This makes it unique.

Monk Time

March 29, 2016 Alexander Billet

The world must know. The world simply must know, must be shaken by the shoulders until it collectively acknowledges that something like the Monks can exist. That there can be such a thing as “avant-garde garage rock,” and that it can be played by active American G.I.’s increasingly alienated with the army. It needs to know, fifty years to the calendar month after the release of their only album.

Ten years back there was in fact something of a surge in interest around the Monks. A documentary was made, a tribute album was put out featuring the (International) Noise Conspiracy, the Fall, and a few other recognized inheritors of the garage rock sound.

The Communal Order of the Ouroboros #4

March 27, 2016 Craig E. Ross

The Communal Order of the Ouroboros is written by St. Guillotine and illustrated by Craig E. Ross. You can read this comic from the beginning by clicking here. The Communal Order of the Ouroboros is a highly esoteric yet self-proclaimed open coven for all Communist witches, warlocks, and other magical and/or mystical Marxists. This comic is the magical diary or "Communist Grimoire" told through the first person perspectives of 5 communist witches who start a coven dedicated to using any magical means necessary to overthrow the dictatorship of capital.