Last summer, a New York city police officer choked a black grandfather named Eric Garner to death. Garner was suspected of selling loose cigarettes. The arrests of people like Garner are part of a controversial policing tactic called Broken Windows. Broken Windows claims to prevent large crimes by cracking down on small ones. But it’s really about controlling and punishing communities of color, through police encounters that can sometimes be deadly.
Written, illustrated and narrated by Molly Crabapple
“In America, where the fetish for foreign dissidents runs deep, Ganzeer could have dined out for years on his revolutionary cred, making do-gooders feel brave by proxy just for buying his paintings. But it was a role he rejected as Orientalism; he was sick of how the Western press reduced him to nothing but an avatar for the Egyptian Revolution and ignored his critique of their own countries.
“When you see injustice somewhere you want to call bullshit on it,” he told me. “There’s just so much injustice in the United States.”
“The Revolutionary, No Bullshit Art of Ganzeer”- Molly Crabapple. VICE
Hosted by PEN American Center and the ACLU. Artists, authors, and activists unite to read passages from Mohamedou Ould Slahi’s diary — the only diary by a still-imprisoned Guantanamo detainee to be released (Little, Brown & Company, January 20, 2015). Followed by a conversation with Mohamedou Ould Slahi’s attorney, Nancy Hollander, and editor Larry Siems, moderated by Philip Gourevitch.
Monday, January 26th @ 7pm
45 Bleecker Street
New York, NY 10012
Molly Crabapple illustrated the cover for this month’s New Internationalist.
Inside this issue: Icelandic activist and founder of the Pirate Party, Birgitta Jonsdottir, guest edits an issue on the theme of ‘democracy in the digital era’. It tackles some of the thorniest issues of the day: privacy, censorship, mass surveillance, media freedom. But it goes several steps further than most media reports by presenting powerful and practical ways in which we can create a deeper and more meaningful democracy and a richer more rebellious political engagement, using the tools of the internet age.
The artists of Charlie Hebdo join a long and tragic tradition. Mocking pen strokes send authoritarians into paroxysm of rage. Governments and extremist groups around the world target cartoonists for arrest, beatings and execution. Bullies can never take a joke.
New York State’s Human Trafficking Intervention Courts (HTICs) are the first of their kind in the nation. Launched with great fanfare in September 2013, these courts redefined prostitutes as trafficking victims rather than criminals.
“Human trafficking is… a form of modern-day slavery that we simply cannot tolerate in a civilized society,” Judge Jonathan Lippman, the court’s creator, said at a press conference announcing the formation of the special courts. “We now recognize that the vast majority of individuals charged with prostitution offenses are commercially exploited or at risk of exploitation. By offering vital services instead of punishment to these defendants, the Human Trafficking Intervention Initiative will act to transform and save lives—and, in turn, enable law enforcement to identify, investigate, and punish the traffickers.”
Despite the claims of reformers like Judge Lippman, HTICs are as controlling as any other court. Prostitutes might be called victims, but they’re still arrested, still handcuffed, and still held in cages. The only difference is that they’re now in a system that doesn’t distinguish between workers and trafficked people. To the courts, anyone who’s been arrested for sex work is raw material, incapable of making his or her own choices. Those like Love, who did sex work out of financial necessity, before leaving of her own volition, might as well not exist.
The Bertha Justice Institute at the Center for Constitutional Rights is proud to present a special Freedom Flicks program on Wednesday, January 14th in partnership with the Brooklyn Public Library using art and film to bring you rarely told, human stories of Guantánamo prison.
The night will begin with a private reception/gallery exhibit featuring artworks by artist and writer Molly Crabapple, photographer Debi Cornwall and former Guantánamo detainee and CCR client Djamel Ameziane. Following the exhibit we will screen the original short film “Waiting for Fahd”, which tells the heartrending story of CCR client Fahd Ghazy, a Yemeni national unlawfully detained at 17. Now 30, Fahd continues to languish in Guantánamo without charge or trial.
After the screening, CCR Staff Attorney Omar Farah will be joined by Molly Crabapple and Debi Cornwall to discuss the role of art, law, and storytelling in challenging dominant narratives of Guantánamo and surfacing the human impact of indefinite detention.
Molly Crabapple will not be silenced. The New York artist has come a long way from nude modeling and doodling, asserting herself as an important political voice, pen and brush of the art world. Whether she’s on the Islamic front in Syria sketching, writing an article for VICE, or working on her forthcoming illustrated memoir, Drawing Blood (out in 2015 published by Harper Collins), Crabapple is a force to be reckoned with.
This week we talk with Molly Crabapple, an artist and writer who has worked in Guantanamo Bay, Abu Dhabi’s migrant labor camps, and with rebels in Syria. Crabapple is a columnist for VICE, and has written for publications including The New York Times, Paris Review, and Vanity Fair. We talk about art, journalism and the tensions that can exist when your work traverses the boundaries between the two. Molly also shares some advice for those who hope for a career in art. Shownotes available at sourcesandmethods.com.
On Wednesday, Chelsea Manning – heroine, whistleblower and inmate – turns 27. She has been behind bars for four years and eight months, ever since her arrest for leaking classified US documents. There isn’t much prospect that she will be released any time soon … It is against this gloomy and unpropitious backdrop that leading writers, artists and public figures from around the world are today sending Chelsea birthday greetings. Their contributions include letters, poems, drawings and original paintings. Some are philosophical – yes, that’s you, Slavoj Žižek – others brief messages of goodwill. A few are movingly confessional.
All send a powerful reminder: that for millions in the US and beyond, Chelsea Manning is an inspiring moral figure who deserves our continued support.
December 5 – 28, 2014
Artist reception: Friday, December 5th; 8-11PM
Since early 2012, Allan Amato has been photographing fine artists and inviting them to interpret those portraits through their particular medium. An artist’s work can act as both bridge and barrier; at once deeply personal and highly distorted; the lens through which we present our perception of the world, and the world that in turn interprets us.
As a full-time photographer, Amato engages in a daily meditation on art as a spiritual and alchemical practice; that nevertheless demands relentless hustle and a pathological immunity to rejection. During the shoots he found myself asking the artists about their processes and motivations, and drawing comparisons with my own approach to photography and portraiture. But how best to surround and consummate the conversations, the artists and the Work?
The TEMPLE OF ART is a collection of those collaborative art works and musings that provides an insightful look into the lives of some of our favorite working artists. A documentary project evolved from this project as well, which follows the progress of the collaborations from conception to completion, alongside interviews with the artists themselves. The Temple of Art panel at this year’s Comic Con was one of the most covered by global genre press, and the opening at La Luz de Jesus Gallery will be the final footage to complete the film–featuring a live, spoken word performance by Grant Morrison. Many of the featured artists will be present together to talk about what informs, inspires, and motivates them, and how they’ve hacked a life that is both sustained and intensified by making art. The Baby Tattoo book launch will happen mid-exhibition.
La Luz de Jesus Gallery
4633 Hollywood Boulevard
Los Angeles, CA. 90027
In America, the justice system is anything but just. Courts are conduits for the caging of (mostly black or brown) humans. The police feed people into the courts, and if they sometimes kill those they are arresting it’s regarded as a cost barely worth mentioning. And though they kill a lot of people—in Utah, police shootings are the second most common type of homicide—they are rarely punished. From the fellow officers who write reports and testify on the behalf of killers to the prosecutors who seem determined to let murderers get away, the very system that claims to monitor the police protects them. Police kill. They get away with it. They kill again. Eventually, you realize that this process is not a bug in the system, it’s a feature.
Available for pre-order until Dec 2nd are three new items in the webstore. A men’s and women’s sized t-shirt, jersey scarf and a gorgeous sweater dress, all featuring hand screenprints of Molly’s work throughout 2014, these pieces are a limited edition that can only be purchased through the pre-order. No additional pieces will be printed after Dec 2nd.
This is Guantánamo detainee Shaker Aamer’s short story about Colonel John Bogdan, the man who effectively ran the camps at Guantánamo Bay from June 2012 till June this year. Bogdan’s tenure was an unpopular one with detainees; the mass hunger strike that broke out at the start of 2013 was reportedly triggered by an aggressive crackdown ordered by Bogdan, which included intrusive genital searches and the use of rubber bullets to quell outbreaks of unrest in the prison.
In this fable, Shaker claims that Colonel Bogdan is a man without a nose.
Molly Crabapple is an artist, journalist, and author of the memoir, Drawing Blood. Called "An emblem of the way art can break out of the gilded gallery" by the New Republic, she has drawn in and reported from Guantanamo Bay, Abu Dhabi's migrant labor camps, and in Syria, Lebanon, Gaza, the West Bank, and Iraqi Kurdistan. Crabapple is a contributing editor for VICE, and has written for publications including The New York Times, Paris Review, and Vanity Fair. Her work is in the permanent collection of the Museum of Modern Art.