Our latest “Centerfield” post is up on Art:21 blog today. This time, I write about the multiple presentations of Susan Philipsz’ works on view right now in Chicago at the MCA and the Jane Addams Hull-House Museum. An excerpt from the piece follows; click on over to read it in full.
…My husband and I realize that it’s kind of weird to sing our kid to sleep with a song about men dying of silicosis, but then again the lyrics to “Rock-a-Bye Baby” are pretty disturbing too. Still, the question of why someone would sing a protest song as if it were a lullaby was very much on my mind during several recent encounters with the work of Scottish artist Susan Philipsz. She has three installations on view right now in Chicago: We Shall Be All and Internationale at the Museum of Contemporary Art and Pledge at the Jane Addams Hull-House Museum on the University of Illinois, Chicago campus. The winner of this year’s Turner Prize, Philipsz is widely acclaimed for her use of sound — and more specifically of voice — in works of art that engage the history and culture of protest. Almost all of Philipsz’s installations rely on her own, untrained vocals to weave densely allusive tapestries that commemorate the experiences of those struggling for a better world — something we don’t normally associate with the soothing nature of lullabies.
Commissioned by the MCA, Phillipsz’s We Shall Be All references Chicago’s labor movement and its legacy of social reform in the context of worldwide struggles for worker’s rights. I think it’s partly the fact that public-sector labor unions are so much in the news nowadays, due to the efforts of numerous GOP legislators to quash the collective bargaining power of those unions (or even its mere visual representation) that lends such a sharp sting to Philipsz’s Chicago presentations. Consisting of several speakers and a projection screen arranged within a completely darkened room, We Shall Be All takes its title from Melvyn Dubofsky’s We Shall Be All: A History of the Industrial Workers of the World. This book provides the definitive history of the Industrial Workers of the World (IWW), the Chicago-born labor association whose influence was especially strong during the years before World War I. In particular, Philipsz’s piece alludes to the 1886 Haymarket Massacre in Chicago, whose anniversary is commemorated on May 1st of each year in honor of International Workers Rights.
Wow. I thought this story might be cooling down, but instead it’s exploding! Check out this link-filled update by Hrag Vartanian on the occupation & arrests at The New School over the mass firings of adjunct fine art faculty calling for New School President Bob Kerrey’s resignation. UPDATE: (check out this website for statements issued directly by students and others involved in or sympathetic to the protests, rallies, occupation and other recent New School-related events).
Vartanian’s following the events closely via news, blogs, and Twitter updates from those on the ground. The New York Times has background on the story, plus video of the arrests and photos of the protest.