Does it directly contest state or corporate power?
Is it illegal? Does it challenge capitalist or social relations? I’ve been trying to grapple with all of these issues in my own art practice over the past ten years. I used to take the first question very seriously, and thought that the content of my work had to be revolutionary: pictures of heros, people protesting, shouts against U.S. imperialism. My poster “Places the U.S. has Bombed since World War Two” and my Ricardo Flores Magon stencil are good examples of this kind of didactic political art. The Magon stencil clearly responds to the first question, it is a portrait of an anarchist. The bombs poster is as didactic as the Magon stencil, but not necessarily anarchist. What is interesting is that, unlike the stencil, it expects something of the audience; it asks them to challenge dominant conceptions of the role of the United States in the rest of the world. Increasingly I’ve been reflecting back on this, and feeling that the questions that have oriented traditional revolutionary a
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