Pardon my absence, it’s been a wild year and a half since we spoke last. My semester away in Austria was nothing short of remarkable. I return with an intensified addiction to coffee and a new appreciation for pounded cutlets, battered and fried. Missing schintzel. But look at what has taken its place! The pristine white hardcover catalog for People’s! It’s a handsome thing – stately, unabashedly digging on the red, white, and blue. To that effect, holding it here in the Cantor Fitzgerald feels like coming home. Design-wise the book is a nod/homage to Howard Zinn’s ever-popular A People’s History of the United States. Zinn is an American writer, historian, political scientist, and social activist (fun fact: his father is from Austria). His account of American history is rooted in the belief that history is best told from the perspective of the people, not from that of the political or social elites in power. In the wikipedia article, there’s this great snippet:
In a 1998 interview, Zinn said he had set “quiet revolution” as his goal for writing A People’s History. “Not a revolution in the classical sense of a seizure of power, but rather from people beginning to take power from within the institutions.”
In this sense, People’s Biennial mirrors Zinn’s project. The show is a call to arms. Jens and Harrell, along with the participating institutions, have amassed a humble militia. Keep your ear to the wind: Art belongs is ours, we the people.
Back on the grind, yours truly, David.