The Occupy with Art blog provides updates on projects in progress, opinion articles about art-related issues and OWS, useful tools built by artists for the movement, new features on the website, and requests for assistance. To submit a post, contact us at occupationalartschool(at)gmail(dot)com .
Monday, November 28, 2011 at 12:05PM 
Click on the image to go to the Occupennial Photo section to see new galleries added featuring the amazing photos of Stephen O'Byrne, who's been taking pictures of the occupation since September 24th.
Steve O'Byrne, occupennial, occupy wall street, phot in PHOTOS Thursday, November 24, 2011 at 05:42PM Occupy the Holidays: The Occupy Wall Street Arts & Culture Working Group along with the OWS Puppet Guild are bringing a giant puppet & performance spectacle to the streets of New York City.
Occupy the Holidays will showcase many different performance groups (masked performers, dancers, puppeteers, stilt walkers, musicians...) in a travelling piece of street theater as we tell the tale of Mayor Michael Scroogeberg and his quest to find the best (and moste expensive!) gift this Holiday season.
The OWS puppet guild has had an overwhelming amount of support for our unique artistic contribution to the movement. As has been show for hundreds of years, puppets are a very special and potent tool in the battle for a new consciousness. They help us educate ourselves and others, and they help us celebrate what we've accomplished so far. They will help us tell our story and continue to grow this movement and re-inspire our faling democracy.
But making giant puppets in nyc is expensive! We learned a lot in Occupy Halloween about the cost of storing, transporting, feeding volunteers and this new ambitious budget will help us create a revolutionary theatrical event like no other. Any size contribution will help!
And if you can't donate, please repost/retweet/share this link widely!
THANK YOU!!!!
Kickstarter, Occupy the Holidays, Puppets in fundraising, puppets Thursday, November 24, 2011 at 02:55PM 
PLATE 1 is "WE WOULD LIKE TO THANK" still image. The slideshow below displays PLATES 2-31 of Lisa's book.
graphics, occupy thanksgiving, slideshow in message Thursday, November 24, 2011 at 09:54AM 
CLICK THE IMAGE TO VIEW MORE IMAGES.
Andreas Maria Jacobs
Die Neue Elite ist das Volk
Ephemeral Visual Graffiti
Digital projection of a series of red & black stencil type-faced lettering on a white background constituting of various subjective, erratic political - sometimes poetical - statements & slogans
Perceived and written during the final stages of the economical and financial downfall of Empyre in the years 2010-2011
Screened live at Beursplein, Amsterdam during Occupy Amsterdam November 10 2011
Photos by Belle Phromchanya
Occupy Amsterdam, poetry, projections, text in occupations, projections, texts Thursday, November 24, 2011 at 05:49AM 
CFP for INTERSECTIONS / CROSS SECTIONS 2012: “OCCUPATIONS” (March 23–25, 2012)
11th Annual Communication and Culture Graduate Conference, York University/Ryerson University, Toronto, Ontario
Abstracts due: December 23, 2011; notification by January 23, 2012
Conference date: March 23–25, 2012
Please email submissions and questions to: intersections.occupations@gmail.com
Occupy but better yet, self manage…. The former option is basically passive—the latter is active and yields tasks and opportunities to contribute.… To occupy buildings, especially institutions like universities or media, isn’t just a matter of call it, or tweet it, and they will come. It is a matter of go get them, inform them, inspire them, enlist them, empower them, and they will come.
Tuesday, November 22, 2011 at 11:38AM FROM YESLAB:
"Bloomberg rep" fired from market research firm for performance highlighting absent mayor's violent tactics...
An actress who played a Bloomberg representative in a satirical performance a block away from the mayor's E. 79th St. residence this past Sunday was fired from her job as an independent contractor at a market research consulting firm.
"They said my performance had put the company in an uncomfortable position," said Mary Notari, who learned of her firing from a phone call Monday afternoon. "The mayor has said ‘No right is absolute’—including, apparently, the right to poke fun at him for using violent force against his own people and for bending the law to do so.”
occupy bloomberg, protests, yeslab in activism, anti-citizen tactics Monday, November 21, 2011 at 03:36PM 
GOOD and Occupy Design invite you to create a design, icon, or infographic that shares the unifying spirit of the Occupy movement. Submit designs here for a chance to have your design printed and promoted by Occupy Design.
FOR MORE INFO, CLICK HERE.
Occupy Design is a grassroots project which creates open-source visual tools around a common graphic language to unite the 99%. We’re calling all techies, artists and designers to volunteer their talents by submitting an image that bolsters this objective through creative data visualization.
All submitted designs will be voted on by the community. We’ll use $750 from the GOOD Fund in order to bring the winning design to life: Occupy Design will print and distribute the winning design, AND we’ll send the winner their design printed on a vinyl weatherproof sign and several 11×17 prints as well as an Occupy Design t-shirt.
Submissions should include the image of the design and a brief written description. You do not need to include a project plan or description of how the image should be used.
Individuals and organizations can participate. Once projects are submitted, rally your friends, family and colleagues to get behind your effort and join the GOOD community in voting for the best design.
CONTEST, GOOD, Occupy Design in design Monday, November 21, 2011 at 01:43PM 
When I went to Brooklyn College it was entirely free; now fees are about 10k a year. That's because the state had realized the need for a professional class beofre but esp after the war. When the attendees at public educational institutions became working class kids of color in high numbers, the interest of the state and the population at large in supporting public ed of any kind, including k-12 in NY, evaporated.
The invention of Pell grants to help lower middle class students and working class students attend college was a Dem initiative essentially canceled out by the advent of neoliberalism in the US in the 80s. Loans were routed through banks instead of the government, and the terms were not in the least favorable to students. This was not accidental, as part of the prescriptions of Huntington et al to neutralize student activism and return the democracies to "governability" was to increase the costs of all sorts of attending college and to turn it into a jobs-credentialing industry.
The corporatization of higher ed has led to a grotesque hypertrophy in the administrative/management layer, and they draw absurdly high salaries, costs borne by tuition-paying students. Since the 1980s the cost of tuition has far outstripped inflation.
The corporatization of higher ed has led to a grotesque hypertrophy in the administrative/management layer, and they draw absurdly high salaries, costs borne by tuition-paying students. Since the 1980s the cost of tuition has far outstripped inflation.
Blaming students for incurring debt, like blaming householders for incurring incomprehensibly encumbered mortgages is blaming the victims as though they were 'complicit." They were gulled, not complicit.
Monday, November 21, 2011 at 11:15AM 
OCCUPY THE WALLS
Monday, November 21, 2011 at 11:09AM 
(Illustration: Nathan Cepis/ANIMALNewYork)
From: http://animalnewyork.com/
map, occupy wall street in drawing, graphics Sunday, November 20, 2011 at 11:34PM A New Day Begins At Occupy Wall Street from Claire on Vimeo.
8mm film by Claire Kelley
This Super 8 film was shot a half hour after police confiscated generators at Liberty Plaza and 24 hours before a snowstorm hit New York.
I showed it at the Detours film festival in Greece a few weeks ago
(http://www.festivaldetours.org/).Claire
8mm film, occupy wall street in CINEMA Sunday, November 20, 2011 at 04:52PM Great American poet Robert Hass describes his Occupy experience in today's NY Times Sunday Review section.
NONE of the police officers invited us to disperse or gave any warning. We couldn’t have dispersed if we’d wanted to because the crowd behind us was pushing forward to see what was going on. The descriptor for what I tried to do is “remonstrate.” I screamed at the deputy who had knocked down my wife, “You just knocked down my wife, for Christ’s sake!” A couple of students had pushed forward in the excitement and the deputies grabbed them, pulled them to the ground and cudgeled them, raising the clubs above their heads and swinging. The line surged. I got whacked hard in the ribs twice and once across the forearm. Some of the deputies used their truncheons as bars and seemed to be trying to use minimum force to get people to move. And then, suddenly, they stopped, on some signal, and reformed their line. Apparently a group of deputies had beaten their way to the Occupy tents and taken them down. They stood, again immobile, clubs held across their chests, eyes carefully meeting no one’s eyes, faces impassive. I imagined that their adrenaline was surging as much as mine.
Click HERE to read the rest of the story.
Robert Hass, occupy discourse, poetry, story in discourse, stories Sunday, November 20, 2011 at 01:56PM 
Occupennial co-organizer Paul McLean penned this essay on concentric circles and the structural dynamics of #OWS, plus related phenomena for his blog AFH2011. To read the essay, click the images above or below.
[NOTE: The final pre-publication draft version is HERE.]
Concentric Circles: A Conjecture about the Dimensional Nature of the Fast-Spreading Global Occupation, in Text and Images
∞
Interdiction is always a rule of the State; impossibility is a regulation of the real.” – Alain Badiou, “Highly Speculative Realism on the Concept of Democracy”
We’re living in a Post-9.17 World.
Two months + 1 after the #OccupyWallStreet movement (and it is one, now) congealed in Zuccotti Park, a sketch of the New World Order is in order. Last August, those of us who took Badiou’s seminar at the European Graduate School witnessed this trajabadore philosopher map infinity and finitude, using set theory, to assert a vision of the universe in which series of derivative values constituted a whole that itself existed as a beautiful, animated array of derivative components. The Omega of Badiou and the sets of finite phenomena, which are Its expression, are hinged in a conjecture. #OWS is such a conjecture: a being-event that impossibly de-regulates the real, and defies the parameters of superimposition. But how does such a moment work?
It’s my contention that Time is the only Object, and everything else is Subject. I asked Badiou during a coffee break whether Philosophy needed Art. It had become clear to me that art required the love of wisdom, the evaluative functions of philosophy, after encounters with the likes of Kittler, Lotringer, Agamben, Ronnell, Badiou and others. What wasn’t clear was whether philosophy, which could think about anything it seems, needed art. Badiou said, “Philosophy needs art, now.” I would suggest that #OWS proves this, because perceptually we appear to be spanning dimensions, and on this side of the void that attaches to progressive perceptual consciousness, we seem to have returned to the beginning. In the beginning there were concentric circles...
Occupy models, Paul McLean, concept, media philososphy, occupy discourse in discourse, stories, texts Sunday, November 20, 2011 at 01:49PM 
Occupennial co-organizer Chris Cobb wrote this essay for his SFMoMA blog. To read the essay in its entirety, click HERE.
Surely Fox and other news media wouldn’t deliberately try to smear a legitimate grassroots movement opposing such things as financial industry corruption, media corruption and bias, and political corruption? No of course not, the news is always fair and balanced.
CHRIS COBB, occupy discourse in discourse, readings, stories Sunday, November 20, 2011 at 01:41PM 
To read the terrific chronicle about the #OWS Library, posted by Mira Schor on her blog "A Year of Positive Thinking," click the image.
When the NYPD raided the Occupy Wall Street Encampment at Zuccotti Park this morning, they tossed the 5,554 books that were assembled from donations into The People’s Library, an extemporaneous institution with a proper librarian and its own website, into dumpsters.
According to the story as reported this morning on mediabistro.com: “According to the city’s eviction notice, the “property will be stored at the Department of Sanitation parking garage at 650 West 57th St.” But the librarians dispute this: “it was clear from the livestream and witnesses inside the park that the property was destroyed by police and DSNY workers before it was thrown in dumpsters.”
The People’s Library, set into the North East corner of the Park near the corner of Broadway and Liberty Street, was one of the most beautiful aspects of the occupation site...
OWS Library, essay, mira schor in stories Sunday, November 20, 2011 at 07:02AM M/E/A/N/I/N/G
25th Anniversary Edition
The editors of M/E/A/N/I/N/G are proud to announce the 25th anniversary issue of our journal.
This issue is available online and as a PDF.
http://writing.upenn.edu/epc/meaning/05/
This is an unusual moment of global economic crisis, failure of capitalism and of progressive political movements, a moment of political impasse, and of generational shift, following upon a series of traumatic political events and a decade of war. Methods of communication have changed since we began our project 25 years ago and concepts of privacy and individuality seem to be in a process of radical transformation.
Our 25th anniversary issue centers around two themes: the impact of public trauma on art and art critical practice, and the nature of privacy for the artist or critic working in the age of social networking and global spectacle.
The first issue of M/E/A/N/I/N/G: A Journal of Contemporary Art Issues, was published in December 1986. We published 20 issues biannually over ten years. In 2000, M/E/A/N/I/N/G: An Anthology of Artists’ Writings, Theory, and Criticism was published by Duke University Press. In 2002 we began to publish M/E/A/N/I/N/G Online and have published four previous online issues. TheM/E/A/N/I/N/G archive from 1986 to 2002 is in the collection of the Beinecke Library at Yale University.
To address our themes in this online issue, we invited a wide spectrum of artists, art historians, and poets, some who had written for our journal before and many new artists and writers whose work we have encountered in recent years. We are proud to continue our commitment to maintaining an open, non-profit space for independent writing about art.
Contributors include: Suzanne Anker, Eleanor Antin, Susan Bee, Bill Berkson, Charles Bernstein, Nayland Blake, Anney Bonney, Jackie Brookner, Joyce Burstein, Sharon L. Butler, Tom Butter, Anna Chave, Daryl Chin, Jennifer Coates, Maureen Connor, Patricia Cronin, Jennifer Dalton, G. Roger Denson, Dubravka Đjurić, Bailey Doogan, Johanna Drucker, Noah Fischer, Hermine Ford, Joe Fyfe, Joy Garnett, Andrea Geyer, Vanalyne Green, Mimi Gross, Julie Harrison, Eleanor Heartney, Susanna Heller, David Humphrey, Julia Jacquette, Amelia Jones, Shirley Kaneda, Vincent Katz, Joyce Kozloff, Rachel Levitsky, Ellen K. Levy, Ligorano/Reese, Greg Lindquist, Judith Linhares, Mary Lucier, Lenore Malen, Ann McCoy, Ann Messner, Robin Mitchell, Erik Moskowitz and Amanda Trager, Beverly Naidus, Joseph Nechvatal, Craig Olson, Our Literal Speed, Alix Pearlstein, Sheila Pepe, Dushko Petrovich, Nick Piombino, William Powhida, Nancy Princenthal, Melissa Ragona + Abigail Child, Hilary Robinson, Kara L. Rooney, Bradley Rubenstein, Raphael Rubinstein, Caitlin Rueter and Suzanne Stroebe, Carolee Schneemann, Mira Schor, Francie Shaw, Alexandria Smith, Buzz Spector, Misko Šuvaković, Jeremy Sigler, Anne Swartz, Aldrin Valdez, Marjorie Vecchio, Roger White, Daniel Wiener, Faith Wilding, Tom Winchester
We are honored to publish the responses we have received, people really wrote what they wanted, what they felt, each very individually, many clearly inspired and energized by the Occupy Wall Street movement, which began September 17th in Lower Manhattan and has rapidly sent a wave of optimism around the world.
Susan Bee and Mira Schor
New York City, November 18 2011
Saturday, November 19, 2011 at 11:12PM Massive 24-hour DRUM CIRCLE and JAM SESSION party starting tomorrow, Sunday at 2pm, outside Mayor Bloomberg's personal townhouse: 17 East 79th Street.
Tie-dye, didgeridoo, hackeysack welcome! No shirt, no shoes, no problem! And if you don't have talent, don't worry: FREE DRUM LESSONS offered! Also on offer: collaborative drumming with the police!
Even though this is a 24-hour drum circle, don't be late! The mayor loves evictions. Who knows what'll happen? In any case, there'll be an afterparty in world-famous Central Park right afterwards.
Please spread this announcement (www.yeslab.org/drumcircle) as far and fast as you can!
Saturday, November 19, 2011 at 10:55AM this Saturday (11/19) from noon to 5pm, we will be continuing our Occupy Printed Matter action.
We will be decorating their window with a new display of Occupy Wall Street art and occupying the sidewalk in front of their store with art…perhaps silkscreening this week, perhaps sign-making, perhaps life drawing, perhaps a visit from Occupy Legoland.
If anyone would like to contribute work–work small enough to be hung in a living collage in a store window, or from part of the adjoining ceiling space, or sculptures with a small enough footprint to fit on a relatively narrow sill–we will be evaluating and striving to accept as many submissions as possible at Printed Matter, 195 Tenth Avenue between 22nd & 23rd, from 12-5pm tomorrow.
occupy printed matter, ows in events, exhibition, occupations Saturday, November 19, 2011 at 10:05AM Sunday - 11.20.11 -- Two Events -- Two Teach-Ins -- One Horizon
Event I -- Demystifying the Economic Crisis
What: Teach-in / Discussion with Paul Mattick
When: 4pm
Where: moved to 90 5th Avenue
Who: Free and open to all
For details please visit: http://allcitystudentoccupation.com
Some friends will be convening a series of analyses around the economic crisis. This, first in the series, Demystifying the Economic Crisis, will be with Paul Mattick (Adelphi, Philosophy) - author of Business as Usual: The Economic Crisis and the Failure of Capitalism (2011)
To what do we owe the misery and economic hardship currently sweeping the globe, giving birth to a number of social movements including that of Occupy Wall Street? Reckless banks? Human greed? Amoral politicians? Financial speculation? Partial answers at best, bourgeois obscurities at worst. Come join in a discussion which seeks to expand the discourse circulating throughout the current US occupation movement.
Event II -- Art, Work, and Occupation
What: Teach-in / Discussion with Greg Sholette
When: Sunday, 11.20.11 at 7:00PM
Where: 16 Beaver Street, 4th Floor
Who: Free and open to all
The evening's event will be a teach-in and discussion with artist, critic, and educator Gregory Sholette concerning the history of artistic
engagements with the politics of work since the 1960s. While focused on past traditions and initiatives, the presentation will open onto a group discussion of more recent artistic, theoretical and political developments related to concepts such as precarity, post-Fordism, immaterial labor, the cognitariat, and what Greg himself has called "dark matter." This
discussion will consider how these histories and concepts might be (re)activated relative to the Occupy movement, including but not limited to that of New York City as it enters a "post-Zuccotti" phase following the eviction of November 15th. Report-backs and reflections from November 17th actions are more than welcome following Greg's presentation.
Here are some points and questions devised in collaboration between Greg and 16 Beaver for possible discussion following his presentation:
1. What does the phrase "art worker" mean today, and how does it relate to the broader field of cultural labor that is so crucial to driving the uneven geographical development of cities such as New York?
2. In what ways have art and cultural workers more broadly contributed to the discourse and practice of occupation over the past two months? How have they been involved with the framing, staging, and messaging of the overall movement, on the one hand, while also beginning to organize themselves qua workers under the umbrella of "the 99%"?
3. How has the advent of the Occupy movement challenged art workers to recalibrate their relationship to the networks, economies, organizations, and institutions involved with the production and consumption of art and culture in some form of another?
4. What would it mean to "occupy the art world"? Does this question make any sense without a moment of self-recognition in which we see ourselves as a kind of culturally-redundant surplus to the very system that stamps out the professional passport for "artist" in first place? Are these very designations not complicated by the structural dynamics of precarious labor itself, in which many artists simultaneously work as art handlers, assistants, interns, janitors, students, adjuncts, parents, and beyond? How might an interrogation of the identity-card "artist" open up new possibilities of alliance and coalition with workers and activists in extra-artistic fields?
5. What is the ultimate goal of organizing art workers? Is it just about making things more fair by redistributing the art world's "real estate"? or should it not also address a deeper set of questions concerning time, labor, and value relative to the disciplinary imperatives of
neoliberalism? How do we negotiate in ideological and organizational terms the fact that the entrepreneurial models of subjectivity mandated by neoliberalism often appeal to an image of artistic flexibility, autonomy, and ingenuity, as exemplified by Richard Florida's infamous paradigm of the "creative class"? What if any new forms of class consciousness might the Occupy movements entail for workers in the artistic field in
particular and the cultural field more generally?
6. If the work of artists today somehow embodies and models the flexible, precarious, socially cooperative yet competitive, professional, cognitive, immaterial, relational, affective dimensions of the post-fordist worker; then what might an inquiry into the specific conditions or qualities of such a work imply or reveal for contemporary political struggles?
More information about these events: http://www.16beavergroup.org/11.20.11.htm
16 Beaver, greg sholette, ows in discussion, education, events 