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A significant meditation on political art and the politics of art by the country’s most celebrated young curator
A fog of information and images has flooded the world: from advertising, television, radio, and film to the information glut produced by the new economy. With the rise of social networking, even our contemporaries, peers, and friends are all suddenly selling us the ultimate product: themselves.
Here curator and critic Nato Thompson interrogates the implications of these developments for those dedicated to socially engaged art and activism. How can anyone find a voice and make change when the world is flooded with images and information? And what is one to make of the endless machine of consumer capitalism, which has appropriated much from the history of art and, in recent years, the methods of grassroots political organizing and social networking?
Highlighting the work of some of the most innovative and interesting artists and activists working today, Thompson reads and praises sites and institutions that empower their communities to see power and re-imagine it. From cooperative housing to anarchist infoshops to alternative art venues, Thompson shows that many of today’s most innovative spaces operate as sites of dramatic personal transformation.
PRAISE FOR EXPERIMENTAL GEOGRAPHY
“Living in cities, we need a new way to think about how we move and what we notice. . . This strange, exciting book offers just that—a new way to notice public space. It is the brainchild of Nato Thompson: the results of his fascinations with urban planning post-Katrina, abandoned or unnoticed urban landscapes and public art.” —Susan Salter Reynolds, Los Angeles Times
“Another step in the ongoing quest for social energies not yet recognized as art. . . exploring the politics and infrastructures that can either change or stall the world.” —Lucy Lippard, author of The Lure of the Local
“What could be more delightful—and unsettling—than turning loose a group of contemporary surrealists, disguised as vagabonds and artists, in the ripe fields of the hyper-real? Experimental Geography isn’t about space; it is about terminal strangeness.” —Mike Davis, author of Ecology of Fear and City of Quartz