# data[].attributes.body
very very beginnings of the flyer -

this is more so to get the idea of the info we want to include and the style of brochure (folding)

not really for aesthetics

# data[].attributes.body
https://www.publicartfund.org/exhibitions/view/claudia-wieser-rehearsal/#&gid=1&pid=9

# data[].attributes.headline
art installation : postcard presentation ?

# data[].attributes.subject
art installation : postcard presentation ?

# data[].attributes.body
https://candychang.com/work/i-wish-this-was/

# data[].attributes.attachment_link.readable_text
Chang posted thousands of "I wish this was ___" stickers on vacant buildings across New Orleans to invite residents to easily share their hopes for these spaces. She also provided boxes of free stickers in businesses around the city. Infusing street art, urban planning, and ethnographic research, the project revealed the hopes, dreams and colorful imaginations across different neighborhoods and provoked new insights for what New Orleans might yet become.

An experiment in civic input on-site, responses ranged from the functional to the poetic: I wish this was... a butcher shop, a community garden, a place to sit and talk, an affordable farmers' market, not lowering my property value, full of nymphomaniacs with PhDs, what you need, your dream. Part of the Ethnographic Terminalia exhibition and featured in the 2012 Venice Architecture Biennale, this project has continued on through the work of communities around the world. Those interested in using the stickers are welcome to print their own by downloading these files. Stickers should be made of vinyl, not paper, so they can easily be removed without damaging property.

2010, New Orleans, LA. Vinyl stickers, permanent markers, vacant buildings. 4.5″ x 3″ each. To those concerned about the subjunctive mood ("I wish this was" vs. "I wish this were"): Long discussions on the topic suggest that both usages are acceptable. This project is about striking up a casual conversation in the city.

# data[].attributes.attachment_link.description
Chang posted thousands of "I wish this was ___" stickers on vacant buildings across New Orleans to invite residents to easily share their hopes for these spaces. She also provided boxes of free stickers in businesses around the city.

# data[].attributes.attachment_link.readable_text
Initiator(s)

Jessalyn Aaland

Description

The project consists of a double-sided, hand-drawn 8.5" x 11" quarter-fold sheet available to print and distribute freely.
It features such topics as basic information on police tactics (kettling, LRADS, tear gas or pepper spray), ways cops might try to get you to talk to them, and your rights as a student.
This guide was created to distribute to high school students walking out of attending protests in January 2017, when an educator expressed concern to the artist that educators contractually could not be seen walking out with students during the General Strike on January 20, 2017. A former high school teacher, the initiator used her knowledge of teenagers to create a guide using humour to engage students while informing them about how to maintain their rights and personal safety, knowing many might be protesting for the first time in their lives.
Key players include the following: celery cops, a burrito cussing out a celery cop, and her new favourite youth-oriented 501(c)3, "Cool Youth Org."

Location

United States

Goals

To inform youth about how to take care of themselves and their peers while protesting; police tactics used to intimidate protestors, and how to deal with them; their rights as student resistors; possible consequences of arrest and how to avoid talking to the police.

Beneficial outcomes

These guides have been printed and distributed widely by educators in the past couple weeks; a user copied 500 to help students prepare for an upcoming walkout. In addition to educators, parents have also found them helpful.
The initiator constantly distributes these guides to youth (particularly unaccompanied minors) and educators during protests. The guide has a secondary benefit of helping youth feel included in protest because they've been giving something made just for them. Empowering youth and helping them see their voice as equally is critical in the struggle for justice.

Maintained by

Jessalyn Aaland

Users

Educators, youth workers, students/young people ranging from around 10-24, parents.

Links

http://www.jessalynaaland.com/Guide-for-Youth-Protestors-2017

# data[].attributes.attachment_link.description
Initiator(s) Jessalyn Aaland Description The project consists of a double-sided, hand-drawn 8.5" x 11" quarter-fold sheet available to print and distribute freely. It features such topics as basic information on police tactics (kettling, LRADS, tear gas or pepper spray), ways cops might try to get you to talk to them, and your rights as a student.

# data[].attributes.attachment_link.description
Public Art Fund brings dynamic contemporary art to a broad audience in New York City

# data[].attributes.attachment_link.description
The Anti-Eviction Mapping Project is a data-visualization, data analysis, and digital storytelling collective documenting the dispossession and resistance of Bay Area, Los Angeles, and New York reside

# data[].attributes.attachment_link.description
Your action should speak for itself. Its inner logic should be obvious to the outside eye. When a protest has good action logic, its dramatic challenge to power tells a clear and compelling story.

# data[].attributes.attachment_link.readable_text
Dream

Have you wandered through your imagined utopia lately?

First Steps

Which path will get you to your objective the fastest: Individual change, policy change, or advocacy?

What's your objective? Is it SMART?

Audiences

Who is the primary audience? This is the audience that has the most power to achieve your objective. What do you want them to Think, Feel and Do? Ideally, what is the physical, visible behavior audiences will do as a result of your work? What is the old behavior? What is the new behavior?

Who is the secondary audience? (An audience who may support the effort and become allies.)What do you want them to Think, Feel and Do?

Are you taking into account the cultural, moral, and demographic backgrounds of your audience? And communicating in ways they can understand?

The Creative Process

To get to a good idea, first requires multiple ideas. Did you come up with more than 5 ideas? More than 10? More than 30? More than 50? Were some of those ideas impossible? (They should be) Did you choose the safest one, or are you taking some creative risks?

Have you created drafts, versions, or iterations? Have you rehearsed, reflected and made changes? Have you done this more than once? More than 5 times? More than...

Surprise, Spectacle, and Story

How will your action capture attention and get people thinking differently? Could it be more surprising? Weirder? Funnier? Could it involve a storyworld with characters, heroes, villains, conflict, resolution? How is it different from ordinary protests or street art?

Engagement

How does your action engage people? (spectating doesn't count)

Is there something they can do? Can they have meaningful involvement in the action? Can they see the impact of their involvement?

Can you give your audience something they will want? Physically? Metaphorically? Both?

What can your audience take away?

What will your audience think about later?

How can they share their experience with friends and family?

What can they do to take action?

Does all of the above lead to achieving your objective and point toward your goal?

# data[].attributes.attachment_link.title
Let's Step it Up! Workshop handout - The Center for Artistic Activism

# data[].attributes.attachment_link.description
What is this? We wanted a clear, concise list of prompts to remind us of important things to remember when planning an action. We offer this to you and hope it helps. A Strengthening Tonic for Stronger, Leaner, More Æffective Creative Actions The Foundation Dream Have you wandered through your imagined utopia lately?

# data[].attributes.attachment_link.readable_text
Durante el tiempo que duró la crisis hicimos de todo, incluso nos transformamos en superhéroes alguna vez. "Los Reflectantes contra el Mal"éramos gente corriente. Superpoderes, lo que se dice superpoderes, no teníamos ninguno, no habíamos mutado a causa de ningún extraño y accidentado experimento científico, no volábamos, no teníamos fuerza sobrehumana, lo único que teníamos un poco fuera de lo normal era un traje brillante y un par de herramientas curiosas que nos diseñamos (con la ayuda del grupo alemán Tools for Action). Esas herramientas eran el "Rayo reflectante" y el "Infalible inflable", dos cosas bien sencillas que todo el mundo podía fabricarse en casa sin apenas esfuerzo.

Los Reflectantes contra el Mal, más que un grupo eran una técnica creativa que cualquiera podía emplear siempre que lo necesitara, cuando ya no aguantara más y dijera: "¡Basta! Hasta aquí hemos llegado". El Rayo reflectante es un objeto plateado con forma de rayo que sirve para reflejar la luz del sol y evitar, así, que la policía grabe con sus cámaras a la gente en una manifestación. La segunda herramienta, el Infalible inflable, es un cubo plateado muy ligero - aunque de dimensiones gigantescas - capaz de resistir golpes de altísima intensidad. Está diseñado para cumplir con tres objetivos. El primero es el de señalar el Mal allí donde se encuentre, adoptando para ello mil y una forma distintas. El segundo, entretener a la gente cuando las manifestaciones se tornan aburridas (algo que sucede bastante a menudo). Y el tercero, el objetivo principal por el que diseñamos esta herramienta, es el de detener cargas policiales.

La primera vez que lo probamos fue en Barcelona durante la huelga general del 2011. La Plaza de Catalunya estaba repleta de gente disfrutando de la huelga cuando un grupo de antidisturbios llegó dando palos a diestro y siniestro. Aquella escena de terror nos pilló a nosotros jugando con nuestro Infalible inflable y no se nos ocurrió otra cosa que lanzárselo a la policía. Aquello fue un verdadero Deus Ex Machina. La presencia inesperada de aquél objeto tan raro fue como ese oportuno eclipse que aparece en las películas cuando nadie se lo espera permitiendo la huida del héroe. Detuvo por completo el paso de los agentes que se quedaron allí parados sin saber qué hacer. Primero trataron de destruirlo a base de golpes, pero como vieron que la cosa no funcionaba terminaron por lanzárnoslo de vuelta. Nosotros hicimos lo mismo con ellos originando una especie de ping-pong que transformó aquella escena de terror en una auténtica escena cómica. De este modo tan fortuito fue como descubrimos el potencial antirrepresivo del Infalible inflable. Aquel mismo día, de vuelta en nuestro estudio, comenzamos a producir Infalibles inflables en serie y, poco tiempo después, ya estábamos probándolos en manifestaciones de toda Europa con unos resultados siempre excelentes.

# data[].attributes.attachment_link.title
Los Reflectantes contra el Mal (Enmedio) * Leonidas Martín

# data[].attributes.attachment_link.description
Durante el tiempo que duró la crisis hicimos de todo, incluso nos transformamos en superhéroes alguna vez. "Los Reflectantes contra el Mal" éramos gente corriente. Superpoderes, lo que se dice superpoderes, no teníamos ninguno, no habíamos mutado a causa de ningún extraño y accidentado experimento científico, no volábamos, no teníamos fuerza sobrehumana, lo único que [...]

# data[].attributes.attachment_link.readable_text
Tiny Spaces

spaces at the small scale. objects, sculptures, furniture.

medium Spaces

spaces at the medium scale. pavilions, galleries, rooms that fit multiple people, animals, and things.

gigantic Spaces

spaces at the urban scale. proposals for new buildings, new cities.

Spaces of all Sizes

objects and furniture, pavilions, dreams of new cities.

# data[].attributes.attachment_link.description
Tiny Spaces spaces at the small scale. objects, sculptures, furniture. medium Spaces spaces at the medium scale. pavilions, galleries, rooms that fit multiple people, animals, and things. gigantic Spaces spaces at the urban scale. proposals for new buildings, new cities. Spaces of all Sizes objects and furniture, pavilions, dreams of new cities.

# data[].attributes.attachment_link.description
Let Mayor Adams know that you support and prioritize POC arts communities.

# data[].attributes.attachment_link.description
National Black Theatre (NBT) was founded in 1968 by Dr. Barbara Ann Teer, an award-winning performer, director, visionary entrepreneur and champion of the Black Arts Movement. NBT has broken ground as the country’s first revenue-generating Black art complex, as the longest-running Black theater in N…

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by National Black Theatre (@natblacktheatre)

# data[].attributes.attachment_link.description
Poll Dance is a multifaceted project that looks at option polling in our society. Statistical information is integral to everything from how people think about foreign policy to which movies we should…

# data[].attributes.attachment_link.readable_text
Our Grief is Not a Cry for War

Our Grief Is Not A Cry For War is a performance conceived of by a grouping of artists drawn together by the events of September 11th, 2001. I was part of this gathering of artists and came up with the text and helped shape the performance. It was first performed September 22, 2001 at Union Square in New York and twice in the following weeks at Times Square. More than 100 artists stood silently and motionless for an hour at each performance. Some "audience" members joined us during the piece.

# data[].attributes.attachment_link.title
Our Grief is Not a Cry for War - Dread Scott

# data[].attributes.attachment_link.description
Our Grief Is Not A Cry For War is a performance conceived of by a grouping of artists drawn together by the events of September 11th, 2001. I was part of this gathering of artists and came up with the...

# data[].attributes.attachment_link.description
Poll Dance is a multifaceted project that looks at option polling in our society. Statistical information is integral to everything from how people think about foreign policy to which movies we should…

# data[].attributes.attachment_link.authors[].name
—Teju Cole, author of “Open City” and photography critic of the New York Times Magazine

# data[].attributes.attachment_link.description
A visualization of police violence in 2015. By Teju Cole and Josh Begley.

# data[].attributes.body
The Black School

# data[].attributes.headline
art installation: unpacking school segregation?

# data[].attributes.subject
art installation: unpacking school segregation?

# data[].attributes.body
Their annual report publishes data in a bold and eye-catching way.

# data[].attributes.attachment_link.title
The Black Schoolhouse - The Black School

# data[].attributes.attachment_link.description
We Reached Our GoalWe have reached our goal! We raised $317,000 to build a radical Black art school in New Orleans, LA. Thanks to the generosity of all who donated, shared, and supported our campaign. This wouldn’t be possible if you didn’t believe a radical new future for Black education was possib…

# data[].attributes.body
http://welcometocup.org/file_columns/0000/0179/fasttracked.pdf

# data[].attributes.body
https://stephaniewinarto.com/Do-you-have-a-live-in-worker

# data[].attributes.attachment_link.description
A website documenting the findings of students at the Bronx School for Law, Government, and Justice. The project, taught by teaching artist Hugo Rojas, explores the...

# data[].attributes.body
Could be interesting to choose a popular font style from the 50s to refer to Brown Board era? This website lists a lot of options~

# data[].attributes.attachment_link.description
Examples of fonts in use tagged with "1950s". Uses published in the 1950s that are in some way prototypical of that decade. For contemporary uses that emulate that era, see 1950 style.

# data[].attributes.body
https://stayingpower.zone