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Contraband is Taryn Simon’s new series of portraits depicting various items confiscated at Terminal 4 at JFK Airport.  It provides an in-depth and curious look at what happens when one culture encounters another.  Simon spent five mostly sleepless days at the airport, photographing over 1,000 contraband objects ranging from the relatively unsurprising (counterfeit designer bags, bongs) to the  flat-out strange (cow-dung toothpaste, insect larvae). While many of the photographs’ subjects are shocking, they open a discussion about the  material values of different cultures and what happens when one set of cultural beliefs is dominated by another. Though the series portrays contrasting cultural values, the repetition of some items demonstrates the universality of certain societal norms, such as the mass-market appeal of cheap, knockoff material goods. The exhibit opens September 22 at the Gagosian Gallery in Beverly Hills and at Lever House in New York September 30.

Link to more work by Taryn Simon.

The Center for Land Use Interpretation

Music artists have joined the ever- growing backlash against Arizona’s new anti-immigration law. The boycotts began two weeks ago, when Rage Against the Machine threw a benefit concert that raised $300,000 for organizations fighting the bill. More and more artists are joining what is being called the Soundstrike, including Kanye West, Cypress Hill, Tenacious D, Massive Attack, Norteno superstars Los Tigres del Norte, salsa-ska band Ozomatli, Nine Inch Nails, Maroon 5, Ben Harper, State Radio, Anti-Flag, and many more. Though some argue that the bands’ efforts will only hurt businesses in Arizona and disappoint fans, the nature of the boycott reflects the anger felt by those fighting against SB1070, a law they see as legalizing racial profiling and fueling an already thriving culture of hatred. In the video below, Zach de la Rocha speaks about the Soundstrike movement:

Click here to view the embedded video.

A number of other activist and artistic efforts have emerged in the fight against SB1070. On July 28th, a group known as Stop the Hate scaled down a construction crane in Phoenix to display a large banner calling for an injunction against the implementation of the law. In a statement released by the group, the activists point to the true nature of the law:

“We say ‘stop hate’ because SB 1070 is not immigration policy. Like the experience of the Irish, Italian, Chinese or others, SB 1070 is simply scapegoating and targeting of the most vulnerable among us in these uncertain times; times that should call us to stand together as a people. Within days of SB 1070 passing, we witnessed vicious hate crimes against Latinos in the Southwest. We know that hateful laws legitimize hateful acts and that tolerating their passage signals a dangerous direction for the country.”

Ernesto Yerena, a 23 year- old activist leader and artist, creates simple posters reminiscent of anti- war and civil rights graphics of the 1960s. Yerena grew up close to the border, and eventually found a way to blend his passion for art with his passionate resistance of the anti- immigration movement. See more of his work here.

Yesterday’s small victory is only the beginning in a long fight that will likely end up in the Supreme Court. As the fight continues, musicians, artists, and other activists will surely continue express their anger with Arizona and it’s leaders. Legislators and citizens are left with the responsibility to demand that this unjust law be stopped.

“The Imagination Station is exploding from the ashes of a firebombed flophouse standing — barely — in the shadow of Detroit’s abandoned, antique train station. Painted colors splash from a second story window, and people congregate on the lawn to plan the future. It’s the work of a racially and generationally diverse team of community organizers, artists and activists who’ve united to show how dilapidation can be recycled into inspiration: They envision a combination community center, public art space and living quarters for resident artists. They also want to establish a model for sustainable restoration. The Imagination Station is a refinery pumping out the brand of idealistic, DIY fuel that’s helping rebuild, if not at least re-envision, Detroit.”

Click here to read on.

Click here to view the embedded video.

“The production of a normative human body is a vital means of social control. In an interview with Stefan Szczelkun, artist Alexa Wright explains how her work experiments with the defended boundaries of the human/self, and the affects unleashed by their transgression.”

“…too often the competitive forces of the art market lead artists to use facile shock tactics, which only serve to inoculate us rather than enable us to think. Alexa Wright’s work avoids sensationalism and takes a more serious and useful approach to this material.”

Click here for the full article/interview.

At the recent US Social Forum in Detroit, we got our first look at the Beehive Collective‘s amazing new campaign graphic: The True Cost of Coal, a project Provisions commissioned as part of its Brushfire initiative.  It was a sensation, as throngs of social change activists not only got an amazing education on coal, they witnessed how a great arts and social change project functions.

Add-art.org, a FireFox add-on that replaces advertising on websites with curated art images, is featuring an exhibit curated by our friends at Groundswell titled “Our Fire and Our Tenderness.”

“Care is a way of asking questions about the longevity and influence of social movements. I’m interested in how we take care of one another, establish new social relations based around those values, and still maintain a culture that’s antagonistic. To say that in a more complicated way, maybe, it’s a way of addressing a set of concerns that focus mostly on the practical delineations of who is involved in the self-reproduction of social movements, but also involves some affective, and moral considerations.

This show focuses on care as maintenance, a very practical question about production and perpetuation, and one that only slightly touches on the questions about affect and morality. Here, the art itself is maintenance labor, or makes caring labor visible.

While these actions look similar and even seem banal, they offer unique questions about caring labor. Services United interrogates human-cultivated energy, in the form of electricity, to find the value of the work, and to dig deeper into the possible historical contingencies of how we do caring labor. Material Exchange’s DIY Coat Check sets an expectation of care, and asks what might happen when it’s unmet; how far caring mechanisms can extend or be extended is at stake in the process. Other artists include Environmental Services, Natasha Wheat, Mike Wolf, Jane Palmer and Marianne Fairbanks, the Institute for Infinitely Small Things, and Hideous Beast.

This theme is also the subject of a forthcoming journal edited by the Groundswell Collective. [http://blog.groundswellcollective.com/journal/]”

Go to Add-Art.org to read more on David Morgan and Groundswell’s latest exhibit, and while you are at it, learn how to install Add-art.