Outsider Art, Social Class + the Weak Avant-Garde (HM NYC)

Adam Turl April 5, 2019

Video produced for a Red Wedge Magazine panel at Historical Materialism New York 2019

Adam Turl’s presentation on outsider art, social class, and institutional art, recorded for the 2019 Historical Materialism conference in New York City.

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Edward Bond died on March 3 a cumbersome cultural figure. Always controversial, but celebrated in the 1960s and 70s, no major British stage has taken on a new work from him in decades. He died as Israel inched into its fifth month of its massacre in Gaza. And he died at a time when theatre matters less than it has at probably any point in human history.

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The Call is Coming from Inside the House (Call for Submissions)

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As part of a reorganization at Locust, we are seeking art, poetry and fiction, but also non-fiction, essays and reviews for the upcoming issue. Fiction submissions should be less than 3,500 words. Poetry submissions should be less than four pages. Non-fiction submissions should be less than 5,000 words for essays and less than 2,500 words for reviews. Images should be submitted in jpg format at 300 dpi, and at least eight inches in one dimension, and be accompanied by the title, date, and materials used in creating the work.

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The Case for Critical Irrealism

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In the face of this, appeals to normality are, in essence, the toxic optimism of American exceptionalism, the belief that America is somehow above time, above consequence. And though the reality of President Joe Biden has breathed some new life into this myth, make no mistake, it nonetheless wobbles like a drunk trying to walk a tightrope.

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A single mother is driving past an abandoned factory on her way home from a low paying job. She is hungry. Above the factory a billboard floats in the sky advertising a succulent feast. But it does not strike her — or us — that this is odd, that her hunger has manifested itself above the factory ruin in an image of unavailable food. When we step outside ideology we see this absurdism for what it is.

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“It snatched a dog two days ago, in Drapers Fields,” Detective Constable Habib explained back at the station to her superior, “right in front of its owner. They found its entrails wrapped around a lamppost on the High Road. It’s head was…”

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Even in this cacophony, it’s the silence that unsettles most. If only because it won’t be long until it’s pierced again. Screaming, shouting, tires screeching, panicked footfalls, sporadic gunfire. If there were ever a silence that could threaten, a kind of quietude that, for a few seconds or several minutes, promises to split the skull of whomever steps in its way, this is it.

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