PVD CityArts pays tribute to Rosanne Somerson with paper rose garden


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On Friday, November 6th, students from Providence CityArts for Youth visited the Rhode Island School of Design “beach” on Benefit Street where they installed a paper Rose Garden created by CityArts youth and RISD students. This installation was a tribute to Rosanne Somerson’s inauguration, and a collaboration between RISD’s Teaching + Learning Program and CityArts. It was also a celebration of RISD’s new partnership with CityArts. This partnership aims to create a community “studio” where youth, artists, and educators join together and engage diverse communities through service and art-making. Continuing the long history of collaboration between the two entities, this new partnership includes sharing spaces, creating opportunities for RISD students to work and volunteer at CityArts, and promoting a greater footprint for CityArts on the RISD campus.

For more information about partnership and ways to get involved, please visit RISD Serves.

cityarts2Providence CityArts for Youth is a nonprofit youth arts agency, with a mission based on the ideal that all children should have access to arts learning as an essential part of childhood and youth development regardless of socio-economic background. Over 900 youth enroll in CityArts multidisciplinary arts classes at our South Side arts center on Broad Street, Boys and Girls Club in Fox Point, and in Providence public and charter schools.

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Providence gets $300,000 ArtPlace America grant


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culturaldistrictWith the intention of helping to spruce up the Upper South Providence neighborhood, the Creative Capital recently won a $300,000 ArtPlace America grant.

The project, ‘Illuminating Trinity’, will focus on renovating the Grace Church Cemetery and build capacity and programs at Southside Cultural Center.

“We have seen arts and culture transform our city and we know that cultural expression in our neighborhoods is just as important as in downtown,” said Mayor Jorge Elorza. “I am grateful ArtPlace America has decided to join our efforts by helping provide this opportunity to improve Trinity Square.”

The program also will bring to Providence one of two pilot programs, Community Innovation Lab, developed by EmcArts, which integrates art and artists into the process of developing systemic change.

“We’re thrilled to be working alongside Mayor Elorza, RI-LISC, and the other partners to harvest the unique power of local artists and cultural workers to catalyze systemic change,” says Richard Evans, president of EmcArts. “Public safety is a complex problem. It requires questioning old assumptions, collaborating across boundaries, deep understanding of local system dynamics, and rehearsing many potential strategies for change. The Community Innovation Lab framework creates space for high-impact, creative solutions to emerge and builds a robust network of advocates to ensure that those strategies get implemented.”

Other organizations participating include RI Black Storytellers, RI Latino Arts, the Cambodian Society, the Laotian Society, ECAS Theater, and RISD.

AS220 also applied for the same grant. I sat down with AS220 founder Bert Crenca, who shared his thoughts on the topic.

Massive student support helps end RISD Tech strike


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RISD StrikeBefore the the student led march in support of the striking RISD Techs started, union president Tucker Houlihan was approached by RISD adminsitrators eager to negotiate a quick end to the strike that began Thursday.

“You sons of bitches are so powerful,” Houlihan said to the cheering crowd outside the RISD administrative offices downtown, “and there’s so many of you, that the administration wanted to talk, and not just talk this time, they wanted to negotiate.”

According to Houlihan, RISD signed a memorandum of agreement that maintains the tech union member’s 8 percent retirement contribution. “And they did this before you even arrived here. That is how powerful you are,” said Houlihan.

Hundreds of students and supporters marched down South Main St in support of the 44 unionized RISD Techs, members of NEARI Local 806. The crowd was so large that marchers completely encircled the administrative offices. Student Danica Mitchell was one of the organizers of the support march. Mitchell told the crowd that this effort was about more than the specifics of the demands of the striking workers.

“It’s more about promoting transparency in big institutions,” said Mitchell. She added that she hopes RISD will be more open in the future.

Today’s efforts mark a successful end to the strike. “When the technicians leave here,” said Houlihan, to the ecstatic crowd, “we’re going back to the studios that we love and they’re open!”

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Photos from the RISD art studio technician strike


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RISD Strike
RISD Strike

Over twenty members of NEARI local 806 carried picket signs on North Main St early this morning before separating to cover the various studios that are spread over the RISD campus. The art studio technicians are officially on strike until “the administration returns to the negotiating table.”

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RISD art studio technicians go on strike starting Thursday


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RISD technicians plan to put these signs to use at a strike on Thursday.

Rhode Island School of Design technicians – the school employees who facilitate and operate the various art studios on campus – are going on strike Thursday. Tucker Houlihan, president of NEARI local 806, said this will shutter the art studios to students.

“They are shutting down the kilns,” he said. “They won’t be laser cutting, they won’t be welding. Kids who had those classes, they won’t have it.”

RISD spokewoman Jaime Marland said, “Arrangements are being made to minimize the impact of such an action – in the event of a strike, some shops will be open.”

Houlihan says the 44 employees who run the various studios – there are about 16 different studios, he said, and listed as examples the glass studio, ceramics studio, metal studio and the woodworking studio – play a large role in RISD students’ education. “We’re the ones who have unlimited contact with students because we are in the studios all week,” he said.

Houlihan said the strike will last until the administration returns to the negotiating table.

The technicians and administration have been at odds over a new contract since May of 2014 and they have been working under the old contract since then. In October, the administration declared an impasse, Houlihan said. A mediator told the union to identify budget neutral contract changes.

In response, the union would like their contract to stipulate the pension contribution percentage technicians currently receive from the school. He said it is 8 percent and is spelled out in the faculty handbook but not the contract. The union feels it would be harder for RISD to cut that part of technicians salary if it was spelled out in the contract. Previously, technicians received a 10 percent pension contribution, but it had since been lowered to 8 percent.

Marland, the school spokeswoman, said “RISD has worked closely with the Technicians’ Association bargaining team since May 2014 to reach an agreement that provides the technicians with a competitive wage and benefits package while balancing the college’s critical need to keep the rate of tuition increases low. RISD’s offer to the technicians remains open and the college is hopeful that, if a strike occurs, it will conclude quickly.”

“We are not striking over monetary changes,” Houlihan said. “We’re simply trying to get them to come back to the table and negotiate in good faith.”

The Technicians Association has a Facebook page, a Twitter account and a website.

Voices and video from RISD panel on Ferguson


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The panel discussion had an audience of about one hundred people.
The panel discussion had an audience of about one hundred people.

Earlier this month more than 100 RISD students and community members gathered at the Canal St. Auditorium for a panel discussion on institutional racism and police violence.

The panelists represented a variety of local organizations. The Providence  NAACP was represented by chapter president James Vincent. Panelists (and RISD alumnus) Jess X Chen and Jonathan Key co-founded the Artists Against Police Violence collective. Steven Roberts (a RIC alumnus) helped to create End Police Brutality PVD (which organized the Nov. 25th #IndictAmerica and the Dec. 5th #ThisEndsToday marches). Finally, Yelitsa Jean-Charles (a student) and Normand Gamache (director of public safety) represented RISD.

Organizations represented at the panel include the NAACP Providence Branch, Artists Against Police Violence, and End Police Brutality PVD
Organizations represented at the panel include the NAACP Providence Branch, Artists Against Police Violence, and End Police Brutality PVD

Opening Remarks were presented by RISD Director of Residential Life Kevin Forti and RISD President Rosanne Somerson. Forti’s introduction provided a brief history of Black and White race relations in America, connecting the killings (and subsequent non-indictments) of Michael Brown and Eric Garner with the advances and setbacks faced by the Black community following the end of the Civil Rights movement. Forti contrasted the election of President Barack Obama with Florida’s controversial “Stand Your Ground” laws, the repeal of sections of the Voting Rights Act, and the pronounced economic inequality resulting in high rates of poverty and unemployment in the Black community.

President Somerson recognized the historical importance of artists in defining revolutions and movements. She recognized that visual art has the capability to express concepts that may be difficult to articulate otherwise. Somerson’s remarks reminded the audience that RISD values social justice, and implored the audience to be proactive agents of change.

James Vincent, of the Providence NAACP branch, answers a question posed to the panel.
James Vincent, of the Providence NAACP branch, answers a question posed to the panel.

The panel discussion began by relating key issues specific to the Ferguson case with larger social trends. Providence NAACP chapter president James Vincent was the first to answer, describing the racial disparity between the Black community and a mostly White police force. Michael Brown’s representation as a “thug” was used to justify the use of lethal force against an unarmed man. The use of “thug” to describe Brown is particularly dangerous, as it is based upon racial profiling of Black men as dangerous, and is used to justify officer-involved shootings of unarmed suspects. Normand Gamache drew upon his experience in law enforcement to state that the Ferguson police department was not acting properly as it failed to properly engage the community.

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Yelitsa Jean-Charles

Yelitsa Jean-Charles described the lack of accountability for police departments. Part of the lack of accountability includes recognition of implicit biases, which are split-second, subconscious judgments made without conscious input. Implicit racial bias, historically measured by a race-specific version of the Implicit Association Test (IAT), could explain the increased rate of officer-involved shootings of unarmed Black victims. Administration of the IAT to officers could gather more information on implicit biases present in the active duty police force.

Steven Roberts, of End Police Brutality PVD and the Providence 7.
Steven Roberts, of End Police Brutality PVD and the Providence 7.

Finally, Steven Roberts described the historical role of police forces in anti-Black violence. Roberts mentioned the Fugitive Slave Act of 1850, which required law enforcement officers across the country to re-capture anyone suspected of being a slave. Captured individuals would be returned to the alleged owner without a jury trial, with a sworn statement of ownership being sufficient proof in some cases. Officers were legally obligated to return any suspected fugitive slaves, setting the ground for a system of racial profiling by law enforcement officers.

Artists Against Police Violence co-facilitator Jonathan Key speaks.
Artists Against Police Violence co-facilitator Jonathan Key speaks.

The next set of questions related the topics of institutional racism to the art world, and RISD students’ future role as image-makers. Key and Chen both described the problems they encountered as artists of color. Chen described the difficulties showing works in a White-dominated environment – the majority of her peers could not relate to the experiences that the piece described, and she did not feel comfortable sharing in this environment. Key described how artwork from the perspective of people of color, or artwork that addressed White supremacy was not taken seriously. White art directors would ask him if he could do art that “wasn’t about race”, which devalued his voice as a Black artist.

 

 

Election gloves and Matunuck sinking: local art at RISD Museum


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For the first time in more than 20 years, the Rhode Island School of Design Museum is showcasing Ocean State talent in an exhibit called “Locally Made.” According to the museum’s website, the exhibit is “celebrating the rich and diverse talent in the city and nearby communities.” The upper gallery is filled with locally made pieces, while the lower gallery has live demonstrations and lectures.

One of the artists being featured in this exhibition is Allison Bianco, a Providence native. Her piece, The Sinking of Matunuck, is a panoramic view of the area of Matunuck.

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The Sinking of Matunuck by Allison Bianco

“My goal as an artist is to create images that connect specific history and collective memories, and my works often include iconography specific to Rhode Island.”

She said the Rhode Island-only show “elevates the term ‘local art’ to an important visual history of our state and provides meaningful examples of the artistic profession happening in Rhode Island.”

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The Election Gloves by Jessica Rosner

Another artist’s politically driven artwork was commissioned specifically for Locally Made. Jessica Rosner’s piece, The Election Gloves, is a diary-style account of the 2012 presidential election written upon rubber gloves.

“I followed the election obsessively for the year preceding election day, keeping a diary of important ups and downs in politics, as well as in my own life. The gloves reflect the responsibilities, deadlines, and minutiae of all our lives, while big stories happen around us.”

In the close up below, the last glove in the series reads, “Obama won. Now I can go back to worrying about my mom, my work, my lack of income. Am cool with that.”

Close up of the Election Gloves by Jessica Rosner
Close up of the Election Gloves by Jessica Rosner

Rosner went onto say that she is honored to have been a part of such a unique exhibition and that it gave her a chance to get to know other artists living in the state.

Both Rosner and Bianco’s pieces, as well as many others, can be viewed in the Locally Made exhibit until November 3rd.

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The Old One – the horror beneath Providence


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Following is a brief history of my research into various events in the history of the City of Providence. While I realize that these incidents seem disconnected in isolation, when taken as a whole, they paint a real and imminent danger to the citizens of our town. As I explain to my many readers, listeners and followers, this story is true, and some of it really happened.
—Mark Binder, Summer, 2013

c_xingThe Narragansett Indians called it “Clths Slaaag,” which Rhode Island’s founder Roger Williams translated as “The Old One.”

Roger Williams joked about it in his diary journal.

“After a sparse meal of fish and corn, Cannonicus, the Sachem, warned me not to build my home on the hill. He said that was where ‘The Old One,’ a horrific monster, lived and fed. His vivid description reminded me of the demonic stories told by Popish priests to cow the superstitious. Most probably a rabid bear.”

Roger Williams was wrong. Seventeen years later, his second son, Elijah mysteriously vanished and was discovered three days later at the mouth of a cave concealed by a fallen apple tree. The boy’s hair and skin had turned white. Three fingers on his left hand were gone, as if they had been gnawed off. Elijah had lost his mind and never spoke again.

Roger Williams’ heart was broken. He spent much of the rest of his life abroad in England. A scrap of paper with a crude drawing of an anchor

In 1860 when his bones were dug from the family plot to be re-interred beneath his statue in Prospect Park, the popular story was that an apple tree had eaten through his corpse, and the roots had taken the shape of his leg bones. The truth was much darker.

In his diary, Stephen Randall, a witness wrote,

“The stench that emitted from the opened grave was beyond imagining. There lay Roger Williams, looking as well-preserved as the day he was interred. Yet his eyes were open, his mouth peeled back baring his teeth in a rictus of horror. When Elder Brown bent down to close the poor man’s eyes, the body disintegrated into thousands of wriggling worms. Those who were present fled, and when we returned all that remained were the roots of the apple tree, looking strangely like a leg bone.”

Moses Brown discovered the mangled corpse of a slave girl in the basement of his East Side Home in 1773. No one knew who she was or how she had died,

Brown wrote,

“The corpse’s condition was appalling. Her back was scarred with lines that John said betrayed the excessive use of a lash, but reminded me of both the jagged tares rendered by an animal’s claw and the infected ruin of a child caught in a wave of jellyfish tentacles.”

A short time later, Moses Brown freed his slaves and began working for abolition.

Edgar Allen Poe, the author, was the next to write of the thing that lived beneath the Hill. In the margin of the original manuscript for the famous poem, “The Raven”

Poe wrote in a crabbed hand,

“Only in the form of a black bird I can indicate the monstrosity. I have tried again and again to describe the Old One, but language fails me, and the words I use seem unnatural and unreal.”

Following his failed courtship of Sarah Helen Power (Whitman), Poe spent weeks wandering up and down Benefit Street in a laudanum-induced haze. Many say that he never recovered.

The most direct references to the creature came from Howard Phillips Lovecraft, who is still famous for his horrific tales of the Necronomicon and “The Great Old Ones” with unpronounceable names. Lovecraft lived most of his life on Providence’s East Side, at the tip of a triangle between the land near where Elijah Williams was discovered, and the basement of Moses’s Brown’s house.

“…that cellar in our childhood house was my constant nightmare,” Lovecraft wrote to his brother Peter near the end of his life. “While you and Emily laughed and played, I peered into the darkness. I fear that soul-destroying blackness corrupted me somehow.”

East Side Railroad Tunnel
East Side Railroad Tunnel

More recently, on May 1, 1993, a party thrown by a group of Rhode Island School of Design Students in an abandoned train tunnel ended in horror.

The Providence Journal reported that, “After the tear gas and pepper spray cleared, police found thirteen naked students, their backs bleeding as if they had been struck with a whip. One girl was dead. Police have no suspects, but report the probability of drug abuse.”
(See http://en.wikipedia.org/wiki/East_Side_Railroad_Tunnel)

In 2003, when more than 30 house cats were reported missing, the Providence Journal attributed the disappearances to a coyote roaming the neighborhood, yet suggested that “small pets and children remain inside after dark.” In 2009, three homeless men who had been reportedly sleeping under a nearby bridge were also declared missing, by the police, but “presumed to have left the state.:

An article in an alternative The Agenda suggested in 2006 that the changing landscape of the City was bringing the horror to the surface.

“The rivers have been uncovered, a highway is shifting, and a billion dollar project has dug underground sewage overflow tanks beneath the hills where Roger Williams once planted his crops. What else have the construction crews dug up?”
The Agenda

Shortly afterwards, the sidewalk behind the First Baptist Church in America on Benefit Street began to disintegrate and cave in. It took several years to effect the repairs on the sidewalk and fence behind the First Baptist Church.

A city contractor reported in a brief memo that has since gone missing, “…every time we tried to fill it, the sinkhole beneath Benefit Street would fill with slimy brown ichor. We finally had to lay in rebar and cement in layers going down fifteen feet. It is possible that the missing day worker fell in and wasn’t noticed, but I doubt it.”

Even now, week after week, at WaterFire in Providence bonfires are lit in the river and haunting music is played while tens of thousands of people wander through the smoke as an ancient ceremony is reborn and recreated.

Less than six months ago, the mutilated body of a missing Brown University student was found in at the site of an old Narragansett burial ground. The details were hushed up, photographs of his corpse were deleted and television cameras were kept far from the scene.

When asked to comment bout the rumors that these and the other events documented in this article were the work of the Old One, the Mayor refused to answer. “This was clearly the work of a sick human being,” he said. “We have far more pressing problems in this city in terms of education and infrastructure. Don’t bother me about this nonsense.”

Have the shifting lands disturbed the creature? Are the fires and the people drawing the monster closer, bringing it nearer and nearer to the surface?

It is hard to tell with all the noise. But if you listen carefully, as you wander the darkened streets of Providence late at night, perhaps you will hear a sound, a soft and slurping sound, as if a moistened finger was caressing the cartilage next to your ear.

If you hear this sound, do not stop. Do not turn around. Do not scream. It feeds on fear and despair.

Enjoy your breath. It may be your last.

cthulhu

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Mark Binder’s latest books are works of fiction: Cinderella Spinderella – an illustrated ebook for families coming September 2013, and The Brothers Schlemiel

Obey the Giant: How a RISD student took on Buddy

obey buddyThe Andre the Giant Has a Posse sticker is probably up there with Cross pens, costume jewelry and calamari as the Ocean State’s most popular ever exports. While its creator, Shepard Fairey – then a RISD student and local skate punk who went on to design the Obama Hope poster – might not be as famous as Seth MacFarlane, Billy Donovan, John King or Amy Carter, how many of them can boast that they took on Rhode Island’s most well-known icon: Buddy Cianci.

Here’s the highly-anticipated, highly-dramatized 20 minute movie about how a unknown art student took on the most famous mayor in the country … and won! Political buffs will love the portrayal of Cianci, played by Keith Jochim of Providence.

Here’s a description of the movie, from its Kickstarter page:

Hi. My name is Julian Marshall. I am a 22-year-old film director from Washington, DC. I am currently a senior at Rhode Island School of Design (RISD). I recently directed a short narrative film about the early life of Shepard Fairey and the origin story of his OBEY GIANT street art campaign. The film is set in Providence, RI, in 1990 when Shepard was studying illustration at RISD. In an illustration class, titled Style and Substance, Shepard received a historic assignment that would later establish his legacy in Providence. Each student in the class was given a fortune cookie, and tasked with illustrating his or her respective fortune. Shepard’s fortune read: TO AFFECT THE QUALITY OF THE DAY IS NO SMALL ACHIEVEMENT. He then decided to paste his Andre graphic over the face of notorious former Mayor of Providence, Buddy Cianci, on his re-election billboard, located in the heart of the city.

And here’s an interview with Marshall in which he talks about how he decided to focus on the incident with Buddy:

PPLA: Shepard is an artist with much acclaim in the community and both positive and negative publicity throughout his twenty plus year career. What made you decide to focus on the Buddy Cianci incident?

JM: That seemed to be the perfect story for me to tell, being a ‘RISD story’ and me being a RISD student. So it made sense for me to make a story about another RISD student 21 years before I attended the school. I wanted to get down to the moment where this thing was still new and fresh for Fairey and he was just reacting. The time before he had the controversial publicity that he has recently experienced, like right now with the associated press lawsuit or the way some people seem to react to his OBEY clothing. I wanted to keep it simple and I wanted to tell a story similar to The Social Network– a “where did this thing come from” feeling. A lot of people don’t quite understand where this movement came from and they just see what it is now and take from it whatever they want.

PPLA: Agreed. Not many people are aware Fairey’s initial ideas or intentions. You have a street artist pre-Obama where work was looked at by most as vandalism or “street art” as we call it. How was it that you learned about what led up to the Buddy Cianci billboard incident? It’s not as if Fairey woke up one day and said, I’m bored and I’m just going to slap an Andre the Giant face over Buddy Cianci’s.

JM: I can speak to some of that. The jumping off point for the story was me seeing and reading the story in Fairey’s book. There are plenty of people still currently at RISD that were around at the time of the billboard-teachers of Fairey’s that are still here- so I amassed all of the research myself by interviewing people and ultimately found what I believe to be the black and white truth. I pulled everyone’s contributions together and then basically looked at how to build the best story from that. I thought, ‘How can we build the best, intricate, but still factual story from those accounts.’

 

Imagination, Collective Struggle, and the Inclusion of Artists and Ordinary People: Angela Davis Speaks at RISD in Providence

PROVIDENCE, RI – Click on the image above to hear a short podcast with Dr. Angela Davis.  It is from a brief interview I conducted with her after a keynote address she gave on Monday, June 23, 2012 at Rhode Island School of Design.  More information about her talk is below; in the podcast/interview, I ask Davis more about the history of race relations within the labor movement.  She replied with an abbreviated timeline of when and why Blacks were excluded, but went on to discuss the benefits of integration in the Labor movement, citing one group in particular – the International Longshore and Warehouse Union (the ILWU).  A labor union that primarily represents workers on the West Coast, the ILWU accepted Black workers as members as early as the 1930′s.

Later in the century, explained Davis, Black workers within the ILWU helped introduce new “radical” ideas into the labor union movement, including during the global campaign to dismantle Apartheid South Africa.

The podcast is produced by me Reza Clifton (Reza Rites / Venus Sings / DJ Reza Wreckage).  Music by (and played with permission from) The Blest Energy Band ft. Tem Blessed & The Empress. The song, “The Struggle,” comes from their album ”Re-Energized,” which was released January 20, 2012. The podcast and article written below are also available on www.IsisStorm.com.

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(PROVIDENCE, RI) – Imagination, collective struggle, and the inclusion of ordinary and disenfranchised people.  These were among the themes and lessons shared on Monday, January 23, 2012, when famed scholar, activist, and former prisoner (acquitted of charges including murder, kidnapping, and conspiracy), Dr. Angela Davis, spoke at RI School of Design. Part of a week of service dedicated to Reverend Dr. Martin Luther King, Jr., Davis’ keynote address covered the topic of “Building Communities of Activism.”

Her talk included a discussion of King’s belief in collective action despite the memorializing of him as the face of the Civil Rights Movement; an examination of the New Deal from the perspective of the protests and direct actions that prompted the policies that emerged after the 1930′s era Depression; and an analysis of the “prison abolition movement” as an important part of the worldwide struggle for social justice, workers rights, and economic equality.

Davis also talked about and periodically referenced the Occupy (Wall Street) Movement throughout her talk, including the site here in Providence.  At times, she was thoughtfully critical about what many have documented as the movement’s absence or sparsity of space for discussions about race, class, and the “intersectionality” of these and other issues in the Occupy encampments, as well as concerns associating the US occupy movements with traditional American occupation narratives of Native lands, Puerto Rico, Iraq, and other sites associated with the rise (and ills) of “global capitalism.”  Davis displayed this same kind of caring admonition in reference to the exclusion of prison labor union issues in spaces created by the “free union movement,” expressing pride in the advancements but honesty in the historical tendency to leave certain groups out (ie. women, people of color, and prisoners).

Overall, though, Davis expressed an unbridled show of support and enthusiasm for Occupy activities (and the labor movement), citing Occupy as the main reason why a climate exists again in this country for discussions on economic inequalities and the failures of capitalism.  Notably, she also inserted occupy in her speech, reframing the syntax and lexicons usually used in historical texts about Civil Rights and Worker movements, where terms and phrases like “sit-ins” and “street demonstrations” became sites or examples of people who “occupied” spaces.

Conscious of her audience and the origins of the invitation – RISD, an art school – and in response to a question from a student, Davis encouraged artists to continue making their art.  Harkening back to the ordinary people who joined because of their collective abilities to imagine a world without segregation, racism, jails, etc. Davis says that artists are in the practice of imagining the impossible, and that alone is a gift to the world – and contribution to the movement.