Resources

Melanie Cervantes, ‘Viva La Mujer’ 2015.
See the artist’s website: HERE

Resources are placed here for your use throughout the course. I will add to them, and you are welcome to send me suggestions for resources you’d like to share – use this link to email me. Please be aware that you are required to access some of these resources by the syllabus; your prints will benefit from time spent doing research through these and other resources. For example, the Instagram section requires you to (temporarily) follow certain Instagram accounts. I will be sure to send you all the directions and instructions as the course progresses.

Library Resources:

NOTE: for this link to work, you will need to be signed in to your MyStMary’s account.
SMC Library E-RES
This reading/visual material is digital and will connect you to the Library’s E-brary service. These titles have been chosen for your continued use through the course, including some of your homework readings. Please call the Library Circulation Desk at (925) 631-4229 with any questions about the material in this collection. If you experience trouble accessing the material try switching browsers or make sure that “cookies” are enabled in the browser you are using.

Instagram:

Instagram is very useful because you can very quickly find inspiration for your work or answers to some query you may have about your work. Additionally, it is easy for you to connect with other printmakers through the accounts listed below. Please sign up, temporarily if you wish, for the following accounts & review the works posted throughout the semester:

Wasp Print

Repetitive Press

Crown Point Press (SF)

Nicolas Lampert

Southern Highlands Printmakers (AU)

Carlos Barberena

Tugboat Printshop (Valerie Lueth & Paul Roden)

Hello Print Studio (Linocut boy; UK)

Other sources:

1. Blue Feed, Red Feed

The image below is a link to a resource that has just been published by the WSJ. This project aims to help demystify the issues of difference and distinction by displaying the threads of competing political ideologies. While this is a conservative paper, I do not know, as yet, that this tool is compromised, so we will go ahead and use it. You will find that this is a useful tool to visualize the problematic juxtaposition created by the convergence of what I call ‘vivid’ social media and the traditions of journalism.

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2. Federal attempts to block funding for creative and humanitarian inquiry:

Do you know about this? If not CLICK. What is your opinion? You pay taxes and can vote, therefore what is your preference? One of the things this course helps you do is consolidate your opinions on such matters. The example below helps you understand where yours and your family’s taxes are spent via the NEA:

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3. The Southern Poverty Law Center – Hate Map 2016

The SPLC has documented an explosive rise in the number of hate groups since the turn of the century, driven in part by anger over Latino immigration and demographic projections showing that whites will no longer hold majority status in the country by around 2040. The rise accelerated in 2009, the year President Obama took office, but declined after that, in part because large numbers of extremists were moving to the web and away from on-the-ground activities. In the last two years, in part due to a presidential campaign that flirted heavily with extremist ideas, the hate group count has risen again.

SPLC Hate Groups map 2016 — SPLC Hate Groups map (updated continuously)

4. Anti-Eviction Mapping Project

The Anti-Eviction Mapping Project is a data-visualization, data analysis, and storytelling collective documenting the dispossession and resistance upon gentrifying landscapes. Primarily working in the San Francisco Bay Area, Los Angeles, and New York City, we are all volunteers producing digital maps, oral history work, film, murals, and community events. Working with a number of community partners and in solidarity with numerous housing movements, we study and visualize new entanglements of global capital, real estate, technocapitlism, and political economy. Our narrative oral history and video work centers the displacement of people and complex social worlds, but also modes of resistance. Maintaining antiracist and feminist analyses as well as decolonial methodology, the project creates tools and disseminates data contributing to collective resistance and movement building.