Steve Lambert

wrote a book!!!

Yearly Archives: 2014

On The Cover of Chronogram Magazine

My work is on the cover of the August issue of Chronogram – a Hudson Valley, NY based art and culture magazine.

On The Cover: Steve Lambert

By Iana Robitaille

read the article here

Sand Ocean Sky - The Commons

Sand Ocean Sky – The Commons

If there’s one thing Steve Lambert learned as an undercover security agent at Stanford University’s bookstore, it’s that anyone–a history professor, a freshman’s dad on Parents Weekend, an ex-felon–can try to steal a pen. After each incident, he would sit down with the offender and discuss the attempted theft often born of some psychological conflict, according to Lambert. The meetings tended to end constructively: “Maybe today can be a turning point,” he would suggest.

Lambert retired his badge years ago, but conversation remains at the core of his work. The artist/activist creates public pieces that ask viewers to consider their value systems as consumers. Advertising is a frequent subject. “I consider myself ‘media-agnostic,’” he says. “I use whatever material will work best for me.” For Lambert, this is signage; he critiques advertising using its own methods. Sand Ocean Sky–The Commons is one of a series of arrow signs Lambert fashioned and photographed around Los Angeles. The signs are witty–one reads “No Trespassing” outside of a gated home, another “You are Still Alive” beside a large cemetery–and consider how we perceive and value public space. Lambert also fights advertising with software–his web application Add-Art replaces online advertisements with art.

For Lambert, his work isn’t about feeding a message to his audience. It’s about discussion and exchange. “[In college] I would see art in galleries, stuff that looked fun to make, but not so fun to look at. It was great when I realized that art could be whatever I wanted it to be.” The desire to make art “fun” for both artist and audience has created works that require interactivity. Lambert’s piece Capitalism Works For Me! True/False is a giant traveling scoreboard, with two buttons inviting passersby to agree or disagree. It looks and feels like a game show: bright, colorful, competitive. But Lambert is more interested in stories than scores. He recalls one man who voted false in Times Square: “He was so frustrated with the broad inhumanity of economic inequality that all he could do was cry. For the piece to cause that kind of profound response felt like an incredible achievement far beyond what I ever expected.”

In 2008, Lambert collaborated with the Yes Men on The New York Times Special Edition, distributing 80,000 fake copies of only “best-case scenario” news across the country. “The point,” he says, “wasn’t to make all of those things a reality, but to enjoy walking toward them.” For Lambert, walking is talking. Lambert occasionally sets up a table with a hand-painted sign that promises, “I will talk with anyone about anything. Free!” The mobile table has proven popular; Lambert says discussions have run the gamut, from weather to Native American agricultural techniques. Whatever the subject, the artist wants to walk and talk with you.

Steve Lambert currently teaches in the New Media Program at SUNY Purchase and works from his studio in Beacon. Information on his work and upcoming exhibitions can be found on his site: Visitsteve.com.

video by Stephen Blauweiss

Now We Are Alive

Now We Are Alive Steve Lambert

19 in x 12.5
Printed on 140 weight French Paper Co. paper
Letterpress printing by Horwinski Printing
Edition of 180 with 5 APs.

The first 113 of the edition are in the “Celebrate People’s History: Iraq Veterans Against the War — Ten years of fighting for peace and justice” portfolio

Statement for IVAW portfolio

A key part of Iraq Veterans Against the War, one that could be easily overlooked, is the spirit of the membership. Nearly all of the members, at some point in their service, went about their lives not knowing if they would be alive within a week, a month, the next year, much less today in 2014. In addition to this profound uncertainty, many witnessed or were involved with death and destruction first hand.

Then they come home. Somehow, still alive. Sorting through various issues like Post Traumatic Stress Disorder, physical pain, loss, and unknown mental struggles, but they are back. And somehow, still alive.

In my interactions with IVAW members I’ve seen how life itself feels both unexpected, and respected in a way I can barely imagine. Living is an opportunity. Today is bonus. IVAW members have been through war, survived, and been given more days to walk on earth. Then chosen, with their extra-innings, to work towards peace and justice. To end war. Not all are able to wade through these feelings, reflect upon themselves and existence, and reach the same conclusion. This spirit of growth, humanity, and vitality is to be celebrated.

— Steve Lambert
July 2014

The Public Energy Art Kit

The Public Energy Art Kit illustrates complex energy concepts for everyday audiences. It is a large-format printed compendium of 14 posters on tackling climate change, energy inequality and fossil fuel dependency.

I helped develop the concept along with Post Carbon Institute, helped select the artists and write the materials inside, designed the cover, and created a series of 3 posters for the kit.

Watch the video

See the Public Energy Art Kit

See more at energy-reality.org/art.

The Public Energy Art Kit in the world

Portuguese Translation

Portuguese TranslationVisit the site

The Public Energy Art Kit has its own site with more information at energy-reality.org/art

THE END

Series of 8 Second Videos
(appearing in context of 8 second advertisements)
Yonge and Edward Streets
Dundas Square, Toronto Canada

I’ve got another new work being exhibited up on the billboards of downtown Toronto on PATTISON Outdoor’s largest downtown video board located on the corner of Yonge and Edward Streets, just north of Dundas Square. Dundas Square is the equivalent of Times Square in Toronto and the area experiences more than 100,000 pedestrians daily.

The work will be featured in rotation throughout the day on the Yonge/Edward video board, with one of the videos screening approximately every minute across the 60 foot wide video display. The clips that make up The End are from closing “The End” titles various classic, lesser-known, and educational films.

The ads being played on the boards show fantasies of youth, leisure, romance, and power that also, apparently, will never end if you continue to buy the product. I can’t end advertising in Dundas Square permanently with this art project, but I can end it — in my own way — for about 8 seconds.

We built a beach in St. Petersburg

beach

Stephen Duncombe and I did a Center for Artistic Activism, Arts Action Academy workshop in St. Petersburg. The culmination was an impromptu beach, created along one of the normally unfriendly canals. The action was a comment on the gentrification happing in the area, while also acting as a proposal.

More photos online

Translated (automatically) from Russian:

Impromptu beach town appeared in this Friday in Kolomna. Action “our beach”, organized by the artists of the festival “MediaUdar ‘ , students’ art schools involved, “sociologists “Open Lab City” and indifferent citizens of the District of Kolomna, turned Seattle’s waterfront in the lively public space.

Thanks activists Planking descent to the Griboyedov Canal in Alarchina bridge suddenly turned into a bright area of recreation and entertainment. Anyone could stay in the water on the comfortable loungers, sun tan, drink a glass of cool juice, play ball or Frisbee and chat with neighbors.

Organizers of the “beach” called their action “artistic proposal” for the residents. “We are not employees of the municipal government and can not guarantee that the beach will operate for a long time. Rather, it is an invitation: if the residents like it – they will develop the ideas that we offer on behalf of the art community and sociologists, “- said the coordinator of” MediaUdara “Tatiana Volkova.

Holidaymakers on the beach to collect at least 40 people, including activists of the “New Kolomna.”

via Kolomna.

VisitSteve on Instagram

I found a picture of the air balloon that instagram uses to model it’s filters on wikicommons — not the same photo, the same air balloon. Then I successively posted it to my instagram account applying each of their filters.

(It’s hard to explain a joke.)

visitsteve on Instagram

2014-05-08 18.50.27

Kickstarter Block Party

ksrblockparty

I will have a photograph in the Kickstarter Blockparty art show.

Saturday May 3, 2014 | Noon to 6pm
Kickstarter HQ | 58 Kent St, Brooklyn NY
Rain or shine

Our inaugural art show includes a survey of work by artists who have used Kickstarter for every thing from public artworks, experimental publications, exhibitions, iPhone apps, new institutions, monographs, documentary films and newsprint editions.

Featured artists include: Marina Abramovic Institute, Marshall Arisman, Jeremy Bailey, Amanda Browder, Seth Indigo Carnes, Heather Hart, Steve Lambert, Ligorano Reese, Mary Ellen Mark, Paul Mpagi Sepuya, Mike Perry, Leon Reid IV, Richard Renaldi, Phil Stearns, Swoon, Howard Tangye, Spencer Tunick, Saya Woolfalk

Creative Time Reports: Is Capitalism Working for You?

From Creative Time Reports:

Capitalism works if you’re willing to work hard.

Or so I’ve been told by countless people across the United States when showing Capitalism Works for Me! (True/False), a 20-foot-long sign with flashing lights and a scoreboard. People passing by can publicly decide whether capitalism serves them well by pressing one of two buttons: True or False. From Times Square, with its giant flickering billboards, to a small arts venue in Cleveland, the answers I receive have varied, but the score is often close to even. Most people struggle to decide, and many list numerous reasons why they vote the way they do. Some of these make more sense than others.

Of all the myths about capitalism, the notion that “capitalism works if you’re willing to work hard” is the most stubborn.

Why ask? Capitalism is woven into nearly every aspect of our lives, yet it’s rarely subject to substantive conversation. The nightly news may take as its focus “the economy” or “jobs,” but capitalism is the economic system that dare not speak its name. If we’re to move forward as a society, capitalism needs to be up for serious discussion, honest evaluation and, ultimately, systemic change. Having this conversation is not easy, as I’ve discovered. Capitalism is often discussed — even dismantled — in academia, but not in terms that make sense to non-specialists. Meanwhile it is rarely examined in popular culture with the depth and complexity it requires, so encouraging people to personally evaluate it doesn’t necessarily lead to a profound intellectual conversation.

The purpose of Capitalism Works for Me! is to prompt a cognitive struggle in a down-to-earth, humorous way. However, people usually first react to the piece by falling back on the comfort of abstractions and repeating popular myths. For example, the true/false dilemma is much easier to resolve when the only alternatives to capitalism are presumed to be failed communist dictatorships. It’s also much easier to pretend that the only “true” definition of capitalism is the kind of free-market extreme idolized by thinkers like Ayn Rand and Friedrich Hayek but never seen in the real world.

My job is to disrupt this pattern. Over the three years that I’ve been presenting Capitalism Works For Me!, I’ve learned to redirect the conversation from such oversimplifications. Generally we move on from knee-jerk reactions within a couple of minutes to have profound discussions about how economics impact people’s everyday lives. But the notion that “capitalism works if you’re willing to work hard” keeps coming up. Of all the myths about capitalism, it is the most stubborn. I started to wonder why.

When you think about why people succeed, working nights and weekends comes to mind much more readily than factors we have little control over, such as a stable home life, place of birth, neighborhood poverty levels, family income, access to education, health, a supportive partner, tax breaks, local infrastructure and regional environmental protections. These are some of the conditions that sociologists consider when studying economic mobility. They make a lot of sense, but they’re not the first things on people’s minds if they’ve spent years burning the midnight oil to get where they are. Nor do they make for a heroic story.

The idea that folks may not get what they deserve — that our culture is not a meritocracy — can be very threatening.

In general, it’s uncontroversial to point out that hard work is not the only reason for success. It gets a little more difficult when you’re standing in Times Square opposite a stern, white-haired, white male Vietnam War veteran on vacation who is slightly irritated that capitalism is being evaluated at all. So rather than try to explain what privilege is at an abstract level, I bring up someone else I met. “There was a person here a few minutes ago who agreed that hard work is important and who wanted to work but was forced into retirement because he became ‘overqualified’ when a new company took ownership at the factory where he worked. What do I tell him?”

And the white-haired man softens, shrugs a bit and tells me, “Hm, yeah, that happens.” Because it does, and it’s happened to someone he knows. He thinks for a moment, his energy returning, and adds, “I would tell that person not only do you have to work hard, you also have to work smart — if you can stay abreast of the changing business climate and adapt to current conditions, you’ll be OK.”

I’ve always found the formulation “work hard, work smart” disturbing. When you invert the expression, it implies: if capitalism doesn’t work for you (that is, if you’re poor, out of work or have a demeaning job), it’s your fault. To put it more bluntly, you are lazy and stupid.

As I’m figuring out a polite way to say all this, the man offers a concession.

“There is a problem with greed,” he admits.

We arrive at another pillar of the mythology: If there is a problem with capitalism, it is with the greedy few who occasionally foul up the system for the rest of us.

Now we have the complete legend. The system works. If you work hard and you’re smart, you can get ahead. But the greedy few are a problem.

At an individual level, this belief system makes sense. After all what adult doesn’t think she works hard? Who doesn’t think he’s smart? Who — besides a few real-life sociopathic Gordon Gekkos on Wall Street — actually thinks greed is good?

Yet at a global level such thinking immediately falls apart. The 85 richest people in the world hold as much wealth as today’s “other half” — 3.5 billion of the world’s 7 billion humans. Who thinks that’s a fair system? Who believes that Indian farmers and Bangladeshi factory workers aren’t working hard? How can it be acceptable that anyone, let alone 2.4 billion people, lives on less than $2 a day?

The moments when myths were vehemently defended were simultaneously frustrating and fascinating. Thoughtful conversations often took quick, unexpected turns for the worse. When two young women on a lunch break from their office jobs wondered why so many people vote “false,” I told them about a young man from the Bronx who said he had applied for 10 jobs without receiving a single response. I could see them trying to make sense of this, before they got angry and began to blame the man for applying for jobs that were out of his reach. “Why doesn’t he just apply for fast-food jobs until he can find better work?” they wondered. It was depressing to hear these white-collar workers attack a person they hadn’t met and make assumptions about his mistakes rather than question a system that can be so difficult for those actively seeking work.

I continually reminded myself that those who forcefully defend capitalism do so because they feel threatened. As much as we mythologize bootstrappers, economic mobility remains low in the United States, compared to most countries in Europe, while income inequality is soaring. These are facts, but the people I talk to are not arguing facts. They are hanging on to their hopes, holding on to stories they have been told about the American dream. Capitalism creates wealth and distributes it to those who deserve it. Work hard, work smart and you’ll be OK.

Challenge these ideas, and you unsettle a critical notion that keeps us going: we want to believe we’re totally in control of our lives. In my experience, all but the most arrogant will admit that they got where they are in part out of luck — but if one speaks of the privilege of coming from a particular class, race or social environment, it challenges many people’s sense that they have free will. The idea that folks may not get what they deserve — that our culture is not a meritocracy — can be very threatening.

Rather than face systemic injustice, it’s far more comfortable to find a rationale (any rationale will do) and a target for blame. The unemployed person hasn’t tried hard enough, or her standards are too high. The rich person has a skill for business we just can’t comprehend. Saying otherwise is more than a challenge to the economic system; it threatens our sense of agency, our belief that we can improve our own lives and our confidence in who we are and who we can be. It’s much more reassuring to believe that capitalism works and that if someone fails it’s that person’s fault.

My favorite response to the sign was from a 17-year-old high school student in Boston. She said: “Capitalism can’t work for everyone. If it did, it wouldn’t be capitalism.”

Fears of failure, of losing control and landing on the wrong side of capitalism fuel an absurd idea of what it means to work hard. When I spoke with one woman about “hard work,” she laughed when I defined that as a 35- or 40-hour week. (I admit, by starting at 35 hours, I was baiting her.) Her idea of hard work was her own 70-hour week. If she divided her labor hours in two, she and another worker could each make a decent full-time salary and have enough time off to live fulfilling lives. Instead of work being a means to an end, for many, work has become life itself. Our culture sees the ramifications as normal: overemployment for some, unemployment for others and stress for everyone.

I’d rather we work less, spread the work around, enjoy time off and live complete lives. With more free time, we could build a more robust democracy by engaging with the political issues that affect our lives and organizing more participatory structures to make decisions in our communities. If there’s anything threatening to capitalism, it’s that! It’s convenient for capitalists to have everyone else thinking they don’t work hard enough and that any ill fortune is their own fault.

This is the trap of asking the question “How is capitalism working for you?” While the personal focus helps people avoid abstractions and regurgitated talking points, it also steers them away from the systemic problems of capitalism in the same way that they are encouraged to avoid thinking structurally about the economy every day. Luckily, Capitalism Works for Me! provides a visual cue for a return to that bigger picture. Those who press the “false” button see that they are not alone but are among hundreds who feel that capitalism does not work for them. Those who vote “true” also see that they are not alone but that just as many people are disputing the effectiveness of a system that is rarely called into question. The discussion doesn’t end once the person makes a choice. How well can capitalism be working when so many say it doesn’t? Can the “false” voters, who held the majority in Times Square, all be lazy and stupid?

My favorite response to the sign was from a 17-year-old high school student in Boston. She said: “Capitalism can’t work for everyone. If it did, it wouldn’t be capitalism.” This is where the conversation needs to go: why do we settle for a system that fails so many?

Introductory Essay for Truth is Concrete Book

Truth is Concrete Book

Stephen Duncombe and I were invited to write an introductory essay for this book, “Truth is Concrete: A Handbook for Artistic Strategies in Real Politics“. The book is now published.

It includes essays from more people than I can fit here, so here’s a few you may recognize:

Andy Bichlbaum, Reverend Billy, Andrew Boyd, Tania Bruguera, Andrea Fraser, Guillermo Gómez-Peña, Hans Haacke, John Jordan, Kalle Lasn, Leónidas Martín, Antanas Mockus, Yekaterina Samutsevich (Pussy Riot), Gregory Sholette, Krzysztof Wodiczko, Salam Yousry and Slavoj Žižek, Jonas Staal, and Nato Thompson.

The book is 19 Euros but, most if it came out of a conference and you can watch videos of that for free.

Download a PDF of the chapter

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