January 2012
Capitalism Works For Me! True/False is included in the 2012 deCordova Biennial. The show will be up in Lincoln, MA from Jan 22nd – April 22nd. The sign will be at the museum, and we’ll be taking it to locations around Boston around late March through mid-April – details on those trips to be announced.
The 2012 deCordova Biennial is a survey exhibition focused on emphasizing the quality and variety of work rather than any single or overarching theme. Highlighting artists from across New England, the exhibition displays a diverse range of approaches to media and content. The exhibition is co-curated by deCordova Curator, Dina Deitsch and Independent Curator and former owner/director of the Judi Rotenberg Gallery, Boston, MA, Abigail Ross Goodman. The 2012 deCordova Biennial features 23 artists and collaboratives and will occupy almost the entirety of the Museum and beyond—reaching into the park, Boston, and nearby communities through several public, off-site projects.
The 2012 deCordova Biennial Artists:
Antoniadis & Stone Caitlin Berrigan
Taylor Davis Jo Dery
Kim Faler Matthew Gamber
Jessica Gath Jonathan Gitelson
Eric Gottesman Corin Hewitt
Lauren Kalman Steve Lambert
Mary Lum Megan and Murray McMillan
Ann Pibal Matt Saunders
South End Knitters Chris Taylor
Ven Voisey Anna Von Mertens
Joe Wardwell Cullen Bryant Washington, Jr.
Joe Zane
For The 2012 deCordova Biennial Deitsch and Goodman invited Ian Berry, Curator, Tang Museum at Skidmore College; Richard Klein, Exhibitions Director, The Aldrich Contemporary Art Museum; and Denise Markonish, Curator, Mass MoCA to participate as Advisory Board contributors.
The 2012 deCordova Biennial will be accompanied by an 88-page, color catalogue featuring essays by the curators and a guest essay about public art by Gavin Kroeber.
December 2011
I got these images from Wood Lee Art Handlers in Cleveland. The sign is on its way to Boston for the Decordova Biennial.
November 2011
Thomas Seeley did an interview with me about Capitalism Works For Me True/False for Breakthru Radio. You can listen to the show online.
November 2011
Speaking with Stephen Duncombe at Carnegie Mellon University
Stephen Duncombe and Steve Lambert are directors of the new Center for Artistic Activism.
Stephen Duncombe is an Associate Professor at the Gallatin School and the Department of Media, Culture and Communications of New York, where he teaches the history and politics of media.
Steve Lambert was a Senior Fellow at New York’s Eyebeam Center for Art and Technology from 2006-2010, developed and leads workshops for Creative Capital Foundation, and is faculty at the School of the Museum of Fine Arts, Boston.
Many artists want to create work that has a social impact. Unfortunately most artists don’t learn how to do this. Drawing upon their own artistic and activist practice, their ongoing research project interviewing activist artists, and drawing from contemporary examples, Duncombe and Lambert will lay out common fallacies held by the “political artist.” They still believe, however, that thinking, acting, and creating artistically is essential for effective activism, and will present strategies for sidestepping common pitfalls of political art-making and lessons in making political art work.
Sponsor: Center for the Arts in Society
Co-Sponsors: School of Art; Dean’s Office, College of Fine Arts
October 2011
“I have never seen such a god damn group of selfish, eager hogs”
–President Lyndon Johnson on the Billboard Industry
Over a year ago I interviewed for this documentary about visual pollution. In my research as an artist over the past 12 years I have learned more than most would ever care to about public space, graffiti laws, the advertising industry, and the ugly underside of marketing. I haven’t seen this film yet, but I’m glad to see the message making it’s way out with voices from within and without the industry.
It premieres at IFC Center in New York next week on November 5th.
About the “This Space Available” Film
“Billboards and commercial messages dominate the public space like never before. Can we reverse this visual pollution? This Space Available looks at diverse activists from the worlds of advertising, street art, and politics. Influenced by the writing of Marc Gobé ( Emotional Branding ), his daughter Gwenaelle directs with tremendous verve in her depiction of New Yorkers and others around the world who want to reclaim the integrity of their cities against an onslaught of visual pollution.”
Read more at ThisSpaceAvailableFilm.com
Trailer
Clips
Steve Lambert talking about an illegal billboard
Jordan Seiler organizing the whitewashing of illegal ads
Jordan Seiler
October 2011
I did an interview for the film, “This Space Available: The Grassroots Movement Against Visual Pollution” and it’s premiering at IFC Center in New York next month. Jordan Seiler of Public Ad Campaign is also in the film.
This Space Available
A documentary film directed by
Gwenaelle Gobe
Executive Producer: Marc Gobe/Emotional Branding
World Premiere at IFC Center/ New York
Saturday November 5th Time: 7:00 PM
Tuesday November 8th Time: 1:15 PM
THIS SPACE AVAILABLE: Press Release
Billboards and commercial messages dominate the public space like never before. But is a movement taking shape to reverse this trend?
In This Space Available, filmmaker Gwenaëlle Gobé says yes. Influenced by the writing of her father, Marc Gobé (Emotional Branding), this new director brings energy and urgency to stories of people around the world fighting to reclaim their public spaces from visual pollution.
From 240 hours of film, 160 interviews and visits to 11 countries on five continents, This Space Available charts a fascinating variety of struggles against unchecked advertising and suggests that more than aesthetics is at stake. If Jacques Attali once called noise pollution an act of violence, is visual pollution also such an act? Should we also consider, as one Mumbai resident says, “which classes of society can write their messages on the city and which classes of society are marginalized?”
Gobé offers a canny generational analysis of visual pollution, laying blame not just with the advertising juggernaut but also an entire generation of Baby Boomers, whose consumption-based culture has implicated them in the environmental fallout. She argues that it’s her generation, left to do the cleaning up, that is now leading the fight back.But the filmmaker also recognizes the history and politics behind this fight. Turning to such legislation as the Highway Beautification Act of 1965, Gobé shows how the enforcement of this landmark law, designed to regulate outdoor advertising on America’s roadways, has steadily eroded. And today, public space activist Jordan Seiler faces harsh penalties for covering illegal outdoor ads with art, while officials turn a blind eye to illegally erected billboards.
Still, the film strikes a hopeful tone. A standout interview features Gilberto Kassab, the popular mayor of Sao Paulo, who threw a stone into the quiet pond of the billboard industry by successfully banning outdoor media in his city – the eighth largest in the world. The move is not without precedent: Houston’s 1980 billboard ban was also a deliberate tactic to improve its flagging image, economic competitiveness, and quality of life.
In the end, This Space Available challenges audiences to recognize that aesthetics and beauty go hand in hand with responsibility. Gobé asks why brands continue to ally themselves with an industry that cuts down trees, hogs energy, and spends its profits in courts and statehouse lobbies, especially while younger consumers push for improved corporate citizenship? And is everyone equally to blame for enabling the spread of visual pollution, while other humble individuals show that it’s possible to reverse it?
The film navigates these issues without promoting a universal solution. Gobé instead weaves together stories reflecting diverse local responses to an increasingly global condition. This Space Available compels audiences to consider these stories long after the film ends, or at least to remember them each time we speed by a billboard.
Charlie James Gallery has been out on the road showing selected pieces at art fairs across the country. This month there are two to note and there will be some surprises at each.
The Texas Contemporary Art Fair
Houston, Texas. Charlie James Gallery is Booth: 803
October 27 – October 31st
September 2011
Book launch:
DESIGN ACT Socially and politically engaged design today – critical roles and emerging tactics
Time:
30 September, 6-8 pm
Place:
EXD’11
Lounging Space,
Antigo Tribunal da Boa-Hora,
Lisbon, Portugal
Programme:
Presentation of the DESIGN ACT book by the editors Magnus Ericson and Ramia Mazé followed by a panel discussion with Joseph Grima, Meike Schalk (both contributors to the book) and Lisa Rosendahl, Iaspis director. Moderator: Annika Enqvist, project co-ordinator, Iaspis
DESIGN ACT Socially and politically engaged design today – critical roles and emerging tactics is a new book that presents and discusses contemporary design practices that engage with political and societal issues. Since 2009, Iaspis’ and Interactive Institute’s collaboration DESIGN ACT has been highlighting and discussing practices, in which designers have been engaging critically as well as practically in such issues. Itself an example of applied critical thinking and experimental tactics, the process behind the DESIGN ACT project is considered as a curatorial, participatory and open-ended activity. DESIGN ACT has developed through a website with an online archive; public seminars; presentations and an international network of practitioners, theoreticians and curators.
The book is organized around three sections:
‘WHAT are examples of these movements?’ Contemporary and historical writings, including reprints of ‘Suicidal Desires’ (from the book Superstudio: Life Without Objects, by Peter Lang and William Menking) and ‘Designer as Author’ (from the book Design Noir by Anthony Dunne and Fiona Raby), historical reflections by Helena Mattsson and Christina Zetterlund and an interview with Doina Petrescu (FR) by Ramia Mazé.
‘HOW does it happen and what does it take?’ A substantial analysis of the tactics and methods of the examples of projects featured in the DESIGN ACT archive, by Ramia Mazé and Natasha Marie Llorens.
‘WHERE does it happen and in what contexts?’ A broad perspective on practice from institutions, education and research to new forms of practitioner initiated projects: Interviews with Pelin Dervis (TK), Joseph Grima (IT/US), Ou Ning (CH), Meike Schalk (SE/DE), Yanki Lee (UK), Ana Betancour (SE), Otto von Busch (SE), Mauricio Carbalan (AR) and Tor Lindstrand (SE), by Magnus Ericson.
The book also includes descriptions of 36 projects from the DESIGN ACT archive by:
A+URL, Camilla Andersson, Anti-Advertising Agency, Jon Ardern and Benedict Singleton, atelier d’architecture autogérée, Otto von Busch, Constant in collaboration with Recyclart, City Mine(d) and Speculoos, Dunne & Raby, eskyiu, Fantastic Norway, Aslı Kıyak İngin and Teike Asselbergs, International Festival with Front, Natalie Jeremijenko and the xClinic staff, Yanki Lee with Paula Dib, live|work, m7red, MINE, muf, New Beauty Council, Josh On, Marjetica Potrč and STEALTH in collaboration with A5 Arkitekter, Michael Rakowitz, Raumlaborberlin, Hannah le Roux, School of Missing Studies/Centrala – Foundation for Future Cities, Stalker, Think Public, Unsworn Industries and Zoom Architecture
This book is a final and complimentary part of the project DESIGN ACT, produced by Iaspis, published by Sternberg Press and edited by the founders of the DESIGN ACT project, Magnus Ericson and Ramia Mazé.
Iaspis is the Swedish Arts Grants Committee’s International Programme for Visual Arts. The main purpose is to promote dialogue between practitioners in Sweden and the international scene. Iaspis encompasses an international studio program in Sweden, a support structure for exhibitions and residences abroad for Swedish-based practitioners, and a program of seminars, exhibitions and publications.
www.iaspis.se
The Interactive Institute is a Swedish IT research institute that combines expertise in art, design and technology. Pioneering societal and sustainable approaches to world-leading applied research, the institute develops new research areas, products and services, and provides research and strategic advice to corporations and public organizations.
www.tii.se
EXD’11 EXD (Experimenta) is an international biennale dedicated to design, architecture and creativity; a forward-thinking platform that cultivates and analyses contemporary culture through discussion and reflection. It is a springboard for up-andcoming talent and experimentation in different formats, from exhibitions to urban interventions, debates and lectures. Focusing on people and ideas, the biennale’s programme is designed to provide insight and incentive to both a specialized audience and the public at large, disseminating information and provoking debate.
www.experimentadesign.pt
September 2011
Beautiful Trouble is a collection of tactics and strategies for Creative Activism. Seven grassroots groups are contributing their best ideas, including Agit-Pop/The Other 98%, The Yes Men/Yes Labs, The Center for Artistic Activism, SmartMeme, Beyond the Choir, Waging Nonviolence, and The Ruckus Society. Longtime troublemaker and founder of Billionaires for Bush Andrew Boyd is facilitating the process, and independent publisher O/R Books has signed on to produce the book.
You can pre-buy it on Kickstarter and help get it produced.
August 2011
“Capitalism Works for Me! True/False”
9ft x 20ft x 7ft
Just a few weeks after the Kickstarter campaign ended “Capitalism Works for Me! True/False” is up and touring Cleveland! Its home base will be SPACES and we’ll be taking it out on the down for the dates below.
More on the project will be posted soon. In the meantime, here’s the dates.
Cleveland Tour
Friday, August 26
Downtown Farmer’s Market at Public Square
Saturday, August 27
Open Air at Market Square
Beachland Ballroom
Monday, August 29
Capitol Theater
Tuesday, August 30
Tremont Farmer’s Market
Boston, Hartford, and Los Angeles are upcoming!
August 2011
Opening Reception August 26th
More on the Spaces website
August 2011
Kickstarter rewards go away Saturday
Fundraising for “Capitalism Works For Me” ends Saturday. This means to receive rewards for pledging support, you have to commit in the coming 3 days. But why wait? Do it now!
My birthday is Saturday.
Yes, it’s true. I figured ending this fundraising process on my birthday would make for a great celebration. You know what I want for my birthday? To do this capitalism sign project in as many cities as possible! (Pat yourself on the back if you knew I was going to say that.)
Here’s 5 reasons to support it:
- At this point, all funds are going toward taking the sign to cities without institutional support.
- It only costs $1 to join this party! Then you are connected to the project, and receive exclusive exciting updates as it progresses. Don’t be in the dark.
- It’s one of the 10 best art projects in the history of Kickstarter!
- New rewards will be posted in the final days – signs, prints, and more. Today I added an “IT’S ABOUT POWER” sign.
- And drumroll… Paul F. Tompkins is writing the catalog essay! As you may know, most exhibition catalog essays are written by art critics and art historians. But I’m in charge! And I couldn’t be more excited about having one of my favorite comedians, Paul F. Tompkins, writing for the catalog.
Paul F. Tompkins!
The famous comedian. You may know him from television (The Daily Show, Comedy Central specials, Mr. Show, Best Week Ever with Paul F. Tompkins, appearances on Community, Curb Your Enthusiasm, and many more), from his popular podcast The Pod F. Tompkast, from the Best Show on WFMU, and from being a comedian.
Pledge your support and get the essay! The essay appears in the SPACES exhibition catalog (starts at the $25 level) and in the book (starts at $65).
If you’ve already pledged your support, you can manage your pledge level and select new rewards anytime within the next few days!
Don’t wait, do it now!
What will he write?
I’m not sure what form this essay will take or where Paul stands. On the one hand he had this experience buying a house.
On the other hand, he has made clear how rich he is on stage
And in this music video, he is wearing a tuxedo and financing musicals!
July 2011
Check it out on Kickstarter!
Why you should pledge at least $1
While we need a lot of dollars, I also want a lot of PEOPLE supporting this project. Even at the $1 level. I want you to get those updates and follow along over the next year with this project! If you like it, at least PLEDGE $1. If you can give more, then great. But don’t think $1 isn’t enough. It’s also about you being involved! Pledge!
Some nice words that have been said about the project
From Facebook:
- *I BELIEVE IN THIS ARTIST* if you don’t know of artist Steve Lambert, you really should. i met him at a Creative Capital seminar and he works tirelessly to help other artists. PLEASE SUPPORT THIS PROJECT!
- I like Steve Lambert, he is doing amazing things – help out with what you can. IT’S WORTH IT.
From Twitter
Press/Blogs about the fundraising campaign
- Flavorwire – “The Best Projects in the History of Kickstarter”
- HyperAllergic – “Quick—what’s the dirtiest word you can think of? The one that makes people the most uncomfortable? The one you wouldn’t dare say at a party for fear you’ll spend the rest of the evening alone in a corner with everyone around you doing their best to pretend you’re not there? Artist Steve Lambert, who was featured here on Hyperallergic last year, is trying to fund a public art project he hopes will foster dialogue about something we all have to live with, but which most of us don’t have much of an opportunity to talk about in a meaningful or constructive way”
- prints995.com “Double check that you’re not living in a cave if you haven’t heard of Steve Lambert’s previous projects”
- Eyeteeth: A Journal of Incisive Ideas – “Like anything he does, even the Kickstarter pitch is art.”
- DiggingPitt – “[...] putting the work outside and various other opportunities for deeper engagement like a planned book-make this pretty interesting. Who knows where all this will lead? That’s what I like.”
- Casa de Costa – “Steve Lambert is the Shit. [...] You’ve probably already heard of a couple of his kick-ass projects.”
- Utopia or: BUST -
- LaughingSquid
- Evil Signtist
- Happy Famous Artists
June 2011
I’m working on a new large scale project and hunting for materials. I’m posting what I’m looking for here in the hopes that someone can help. Ideally you or someone you know would want to donate these to SPACES (a non-profit organization) or can access them at a great discount. We would also need them in, or delivered to, Cleveland, Ohio. Contact me if you can help!
- Seven 4′ x 8′ x .090 aluminum sheets
- Six 4′ x 8′ x .063 aluminum sheets
- 60′ of 2″ x 2″ x 1/8″ square tube aluminum
- 190′ of 1 .5″ x 1.5″ x .1875 steel angle
- One sheet of 4′ x 8′ x .125″ white sign acrylic
Gauge and quantities are approximate, but pretty close.
This would be a great help to me and the project. Thanks in advance!
June 2011
This summer I am the SWAP resident artist at SPACES in Cleveland, Ohio. I’ll be in Cleveland from June to mid-July and then again at the end of August. The 10 year old international residency program is excellent and I’m excited to be a part of it.
The project, which for now will remain secret, is a large undertaking. Please stay in touch via my mailing list or twitter as I may reach out for help in the weeks and months to come. I will mention that I’ve re-enlisted Boston based artist and engineer Alex Reben on this project, that we researched buying an old Utica High School football scoreboard and passed, and that I’ve been consulting with all kinds of experts here in Ohio. More soon…
April 2011
In 2006 I started work on Add-Art the Firefox add-on which replaces ads on websites with rotating curated art shows. The add-on is in use by 15,000-20,000 users each week and has replaced ads for over 3 years. I use it every day and it delights me everytime.
Today I am moving on from my role as the lead developer of Add-Art.
Add-Art will continue to work, but it requires a new maintainer. Perhaps you or someone you know would be interested?
Why am I stepping away?
This is a big question and not easy to answer. Rather than explain it all myself, I’m going to quote heavily (from someone who also quoted heavily)
A few years ago, Michael Mandiberg sent an email announcing that he was retiring from his project “the Calls and Opps list.”
He wrote this:
At the end of one of their essays in one of their books Critical Art Ensemble offers their definition of the gift economy (from Lewis Hyde), which i remember as going something like this: at some points certain people have more time/labor or capital and can give it away to others who have less, which they do until they no longer have more time/labor/capital and then they cannot give it away, so they stop and someone else gives.
Deleuze (in one of his essays in one of his books) speaks of the idea of ‘becoming,’ and the way i always understood it was that an idea/person/etc should always be in the process of becoming something, as opposed to having become something. always evolving, changing, not staying still.
At this point i do not have the time/labor/capital to continue [this project]. i thought about possible methods of sustaining the project, (advertising, membership fee, etc) all of which turned the project into an institution. an institution is about as un-becoming as you can get, and also the last thing i want to be responsible for at this point. (smile.)
I’m now working with several institutions; as an artist in a commerical gallery, Regular Full Time Faculty at the School of the Museum of Fine Arts, Boston, and co-founder of the School for Creative Activism, plus my own personal projects. I also need time to develop new things. I can’t do all these things and do them well. I need to make some decisions today so I can do quality work in the future.
What’s next? What does Add-Art need?
I am interested in helping and advising with Add-Art, but I’m not doing a great job in leading it’s development. For some time I have only been able to dedicate the time and energy to maintain it, when it deserves to be updated and expanded.
Add-Art has several volunteer coders, but ideally would be led by someone with experience developing Add-ons. That person can work to maintain our code and expand it.
Currently Add-Art does not work with FireFox 4, the latest version. I don’t think it would take much to update our code. I also believe we are very close at enabling “channels” on Add-Art so that anyone (from the MoMA to some guy in his garage) could create shows that any user could choose to subscribe to. This would expand the art available to users, the user base, and likely the pool of volunteer coders. But development of new features has stalled of late.
The new lead developer wouldn’t need to worry about creating, curating, or administering shows. The week to week (minimal) administration of Add-Art is done by the wonderful and generous Hana Newman, to whom we are all grateful. Curators refer each other to the project and more or less manage themselves with Hana’s oversight. Additionally in 2011 there is the potential to partner with a (for now nameless) non-profit foundation that would make it easier to create an publish shows. With the addition of channels, this area could be essentially covered.
The main work to be done is re-invigorating development of Add-Art, expanding the number of volunteer developers and organizing their efforts, and taking Add-Art to the point where it becomes an autonomous Free Software project, or as close as possible.
The website for the project is http://add-art.org and the code, wiki, and ticket system is on github: https://github.com/slambert/Add-Art/ Please pass it on to whomever you think might be interested.
If there’s more information I can provide, please let me know.
Steve Lambert | April 20, 2011
http://visitsteve.com/contact
